C A R L N I E L S E N

K O N C E R T
F O R F L Ø J T E O G O R K E S T E R

C O N C E R T O
F O R F L U T E A N D O R C H E S T R A

Udgivet af
Edited by
Kirsten Flensborg Petersen

Edition Wilhelm Hansen

Copenhagen 2005

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 The present work is part of THE CARL NIELSEN EDITION, SERIES II,
Instrumental Music, Volume 9

Orchestral parts are available

Graphic design Kontrapunkt A/S, Copenhagen

Music set in SCORE by Wiener Notensatz, Vienna
Text set in Swift
Printed by Quickly Tryk A/S, Copenhagen

CN 00041
ISBN 87-598-1320-2
ISMN M-66134-200-7

Distribution Edition Wilhelm Hansen A/S, Bornholmsgade 1, DK-1266 Copenhagen K

Translation James Manley

© 2005 Carl Nielsen Udgaven, Det Kongelige Bibliotek, København

All rights reserved 2005

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 I N D H O L D
C O N T E N T S

Preface vii Forord

Facsimiles xxi Faksimiler

Orchestra xxiv Besætning

CONCERTO FOR FLUTE AND ORCHESTR A KONCERT FOR FLØJTE OG ORKESTER

I Allegro moderato 1 I Allegro moderato

II Allegretto, un poco 36 II Allegretto, un poco

Abbreviations 64 Forkortelser

Critical Commentary 65 Kritisk beretning

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P R E F A C E
C O N C E R T O F O R F L U T E
A N D O R C H E S T R A
T
he flute concerto was composed in 1926. During the
preceding ten years Carl Nielsen had composed many of
his central works: the music for Aladdin, composed in
1917-18, the Fifth Symphony from 1921-22 and the Sixth
Symphony, which was premiered in December 1925, as well as
a number of works for smaller ensembles, including the Wind
Quintet from 1922, and finally two important works for solo
instrument, the Suite for piano, composed in 1919-20, and the
Prelude and Theme with Variations for solo violin from 1923.
Furthermore many of Carl Nielsen’s Danish songs for communal
singing in various popular contexts appeared in these years.
Although the flute concerto was composed relatively
late in Carl Nielsen’s life, it was the first time he used the flute
as a solo instrument in a major work. Earlier he had composed
for flute in The Mother from 1920, where there are three striking
passages for flute, including The Fog is Lifting. To these we can
add a longer flute solo in the third act of Masquerade from 1905-
1906, while the flute is also used in the Wind Quintet from 1922.
Part of the flute concerto was composed on a journey abroad
from August 1926 until the middle of October 1926. Carl
Nielsen had been appointed by the ‘court singer’ Emil Holm,
director of the newly established Danish Broadcasting Corpora-
1
tion, as a member of a commission whose brief was to decide
what type of radio transmitter should be built at the new radio
station in Kalundborg. After the work of the commission was
over he travelled to Italy, where his daughter, Anne Marie
Telmányi,2 and her husband Emil Telmányi,3 were staying. Carl
1 Danish singer (1867-1950).
2 Danish painter (1893-1983).
3 Hungarian violinist (1892-1988).
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F O R O R D
K O N C E R T F O R F L Ø J T E
O G O R K E S T E R
F
løjtekoncerten er komponeret i 1926. I de foregående ti
år havde Carl Nielsen komponeret mange af sine meget
centrale værker: musikken til Aladdin, komponeret i
1917-18, 5. symfoni fra 1921-22 og 6. symfoni, der blev uropført i
december 1925, hvortil kommer en række værker for mindre
besætning, heriblandt Blæserkvintet fra 1922, og endelig to
væsentlige værker for soloinstrument, Suite for klaver, kompo-
neret i 1919-20, og Præludium og Tema med Variationer for solo-
violin fra 1923. Desuden udkom i disse år mange af Carl
Nielsens danske sange til fællessang i folkelige forsamlinger.
Selv om fløjtekoncerten er komponeret relativt sent
i Carl Nielsens liv, er det første gang han bruger fløjten som
soloinstrument i et større værk. Tidligere havde han kompone-
ret for fløjte i Moderen fra 1920, hvor der findes tre markante
passager for fløjte, heriblandt: Taagen letter. Hertil kommer en
længere fløjtesolo i 3. akt af Maskarade fra 1905-1906, ligesom
fløjten indgår i Blæserkvintet fra 1922.
En del af fløjtekoncerten er komponeret på rejse i udlandet fra
august 1926 til midten af oktober 1926. Carl Nielsen var af
Kammersanger Emil Holm, direktør for den nystiftede Stats-
radiofoni,1 blevet udpeget til medlem af en kommission, hvis
opgave var at afgøre, hvilken type radiosender man skulle
anlægge ved den nyopførte radiostation i Kalundborg. Efter
kommissionens arbejde rejste han til Italien, hvor hans datter,
Anne Marie Telmányi,2 og hendes mand, Emil Telmányi,3
1 Sanger (1867-1950).
2 Maler (1893-1983).
3 Ungarsk violinist (1892-1988).
vii

Nielsen planned to be back in Copenhagen by 7th September
for entrance auditions for the Royal Danish Academy of Music,4
but he was held up by illness and did not come back until
between 8th and 13th October.5
During the last months before his trip he had the idea of
composing “a largish thing for clarinet and small orchestra”, as
he wrote in May 1926 in a letter to Anne Marie and Emil
Telmányi.6 He changed his mind, however, before he started on
the work, for on 22nd July 1926 he wrote to Carl Johan
Michaelsen:7
“I haven’t begun on the clarinet thing and now and then I have
had an idea that would ‘suit’ the flute well. – Should I rather
write a flute piece first?
I’m thinking in this respect about Paris and I’d like
to hear a word or two from you about the matter; whether
Gilbert8 is going and what could come of it.”9
He mentions the work on the flute concerto in many letters
over the next few months.10 On 4th September 1926 he de-
scribes to Carl Johan Michaelsen in more detail how the work is
progressing and what he thinks of the concerto:
“The flute concerto is going well and just today I have finished
the first movement, which has come out well; but it is very
difficult for the soloist, so there will be something to study for
4 Torben Schousboe (ed.), Carl Nielsen. Dagbøger og
brevveksling med Anne Marie Carl-Nielsen, Copenhagen
1983, p. 507.
5 Cf. letter from Carl Nielsen to Vera Michaelsen,
7.10.1926, sent from Regensburg (Dk-Kk, CNA, I.A.c.) and
letter from Carl Nielsen to Henrichsen, Peters
Musikverlag, 13.10.1926, sent from Copenhagen
(Staatsarchiv Leipzig, 1935. Musikverlag C.F. Peters,
Leipzig, No. 1934).
6 Cf. letter of 13.5.1926 (Dk-Kk, CII, 10).
7 Danish wholesaler (1885-1963).
8 Holger Gilbert-Jespersen, Danish flautist (1890-1975),
gave the flute concerto its first performance.
9 Dk-Kk, acc. 1995/55 Michaelsen.
10 Cf. letters from Carl Nielsen to Anne Marie Carl-Nielsen
22.8.1926, Torben Schousboe, op. cit., p. 506, 24.8.1926,
Torben Schousboe, op. cit., p. 507; to Vera and Carl Johan
Michaelsen 6.8.1926 (Dk-Kk, acc. 1995/55 C.J.
Michaelsen), 24.8.1926 (Dk-Kk, CNA, 1.A.c.), 13.9.1926 (Dk-
Kk, acc. 1995/55 Michaelsen), 17.9.1926 (Dk-Kk, acc. 1995/
55 Michaelsen); to Irmelin and Eggert Møller 27.8.1926,
Torben Meyer & Frede Schandorf Petersen, Carl Nielsen.
Kunstneren og Mennesket, Copenhagen 1947-1948, vol. 2,
pp. 257-258; to Anton Svendsen 2.10.1926 (Dk-Kk, N.K.S.
4082-40).
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opholdt sig. Carl Nielsen havde planer om at være tilbage i
København den 7. september til optagelsesprøver på Det
Kongelige Danske Musikkonservatorium,4 men han blev
opholdt af sygdom og kom ikke tilbage før mellem den 8. og 13.
oktober.5
I de sidste måneder inden rejsen havde han en forestilling om
at komponere “en større Ting for Klarinet og mindre Orkester”,
som han skriver i maj 1926 i et brev til Anne Marie og Emil
Telmányi.6 Han ombestemmer sig dog inden han kommer i
gang med arbejdet, for den 22. juli 1926 skriver han til Carl
Johan Michaelsen:7
“Jeg har ikke begyndt paa Klarinet-Sagen og af og til er der
faldet mig noget ind som vilde ‘staa’ godt for Fløjte. – Skulde
jeg hellere først skrive en Fløjtehistorie ?
Jeg tænker herved paa Paris og jeg vilde gerne lige
høre et Ord fra Dig om Sagen; om Gilbert8 skal med og hvad det
kan blive til.”9
Han nævner arbejdet med fløjtekoncerten i mange breve de
følgende måneder.10 Mere udførligt beskriver han den 4.
september 1926 overfor Carl Johan Michaelsen, hvordan
arbejdet skrider frem, og hvad han synes om koncerten:
“Med Fløjtekonserten gaar det godt og netop idag er jeg blevet
færdig med I Sats som er lykkedes godt; men den er ret vanske-
lig for Solisten, saa der bliver noget at studere for den gode
4 Torben Schousboe (udg.), Carl Nielsen. Dagbøger og
brevveksling med Anne Marie Carl-Nielsen, København 1983,
s. 507.
5 Jf. brev fra Carl Nielsen til Vera Michaelsen, 7.10.1926,
sendt fra Regensburg (Dk-Kk, CNA, I.A.c.) samt brev fra
Carl Nielsen til Henrichsen, Peter’s Musikverlag,
13.10.1926, sendt fra København (Staatsarchiv Leipzig,
1935. Musikverlag C.F. Peters, Leipzig, nr. 1934).
6 Jf. brev af 13.5.1926 (Dk-Kk, CII, 10).
7 Grosserer (1885-1963).
8 Holger Gilbert-Jespersen, fløjtenist (1890-1975),
uropførte fløjtekoncerten.
9 Dk-Kk, acc. 1995/55 Michaelsen.
10 Jf. breve fra Carl Nielsen til Anne Marie Carl-Nielsen:
22.8.1926, Torben Schousboe, op. cit., s. 506, 24.8.1926,
Torben Schousboe, op. cit., s. 507; til Vera og Carl Johan
Michaelsen: 6.8.1926 (Dk-Kk, acc. 1995/55 C. J. Michael-
sen), 24.8.1926 (Dk-Kk, CNA, 1.A.c.), 13.9.1926 (Dk-Kk, acc.
1995/55 Michaelsen), 17.9.1926 (Dk-Kk, acc. 1995/55
Michaelsen); til Irmelin og Eggert Møller: 27.8.1926,
Torben Meyer og Frede Schandorf Petersen, Carl Nielsen.
Kunstneren og Mennesket, København 1947-1948, bd. 2, s.
257-258; til Anton Svendsen 2.10.1926 (Dk-Kk, N.K.S.
4082-40).
viii

the good Gilbert. This movement will be by far the most
important, from the content side too; it plays 10 minutes and
in fact could stand alone, so if I were to drop the rest – as I do
not hope to, or have in mind – then it can easily be played alone.
The other movements will of course be short. Unfortunately I
have forgotten the first sheet of the score at home but have
written for it and on Monday the flute part with the outline
accompaniment can be in Copenhagen. I am sending it to you
since I do not know Jespersen’s address. I only hope the two of
you will like the piece; I have worked and thought a lot about
the instrument and the orchestral accompaniment is very
finely honed, almost like chamber music. The orchestra, besides
the solo part, consists of 2 oboes, 2 clarinets, 2 bassoons, 2
horns, 1 bass trombone, timpani and string orchestra.”11
And again to Carl Johan Michaelsen on 13th September 1926:
“I am writing to Behrend again about the press etc., but he has
asked me to write something that could be quoted, but that is
at present impossible for me as I am working concentratedly
and the second section – there will only be one pause in the
flute concerto – is still not clear to me. Yet I think that two or
three small movements will be intertwined as in the violin
concert’s second, more or less.”12
It appears that he had certain problems composing the second
movement. To Rudolph Simonsen,13 for example, he wrote on
14th September 1926:
“I am looking forward to seeing you and your wife and hearing
what you say to my flute affair, which has kept me very busy.
The first section is very large and has been kept chamber-like
with a contrapuntal-symphonic development, and I think it has
succeeded; at all events I have taken great trouble with it. The
second part will be an intertwining of an allegretto and
andante, sort of rondoish in form; but at present I only have it
in my head, since I have had to send the fair copy and the
written-out solo part to Copenhagen for rehearsal by Gilbert J.,
who is to play it in Paris on 21st October.”14
11 Dk-Kk, acc. 1995/55 Michaelsen.
12 Dk-Kk, acc. 1995/55 Michaelsen.
13 Danish pianist and composer (1889-1947).
14 Dk-Kk, CNA, I.A.c.
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Gilbert. Denne Sats bliver langt den vigtigste, ogsaa fra Ind-
holdets Side; den spiller 10 Minutter og kan i og for sig godt
staa alene, saa hvis jeg skulde frafalde Resten – hvad jeg ikke
haaber eller har isinde – saa kan den udmærket spilles alene.
De andre Satser bliver naturligvis korte. Desværre har jeg glemt
det første Ark af Partituret hjemme men har skrevet efter det
og paa Mandag kan Fløjtestemmen med underlagt Udtog være i
Kjøbenhavn. Jeg sender det til Dig da jeg ikke ved Jespersens
Adresse. Blot I nu maa synes om Stykket; jeg har arbejdet og
tænkt meget paa Instrumentet og Orkesterledsagelsen er meget
gennem-ciseleret, næsten som Kammermusik. Orkestret
bestaar, foruden Solostemmen, af 2 Oboer, 2 Klarinetter, 2
Fagotter 2 Horn, 1 Basbassun, Pauker og Strygeorkester.”11
Og igen til Carl Johan Michaelsen den 13. september 1926:
“Jeg skriver til Behrend igen ang: Presse o.a., men han har bedt
mig skrive noget som kunde citeres, men det er mig f. T.
umuligt da jeg arbejder koncentreret og II del – der bliver kun
et Ophold i Fløjtekonserten – er mig endnu uklar. Dog tror jeg
at to eller tre smaa Satser slynges sammen, som i
Violinkoncertens II, omtrent.”12
Det lader til at han har haft visse problemer med at komponere
anden sats. Til Rudolph Simonsen13 skriver han således den 14.
september 1926:
“Jeg glæder mig til at se Dem og Deres Kone og høre hvad De
siger til min Fløjtehistorie som har optaget mig meget stærkt. I
Del er ret stor og er holdt kammeragtig med contrapunktisk-
symfonisk Udvikling og jeg tror nok den er lykkedes, ihvertfald
har jeg gjort mig megen Umage dermed. II Del bliver en
Sammenslyngning af en Allegretto og Andante saadan
rondoagtig i Formen; men den har jeg endnu kun i Hovedet, da
jeg har maattet sende Renskriften og Udskrivningen af Solo-
stemmen til Kjøbenhavn til Indstudering af Gilbert J. der skal
spille den i Paris den 21 Oktbr.”14
11 Dk-Kk, acc. 1995/55 Michaelsen.
12 Dk-Kk, acc. 1995/55 Michaelsen.
13 Pianist og komponist (1889-1947).
14 Dk-Kk, CNA, I.A.c.
ix

15
In a letter to Anton Svendsen he writes very little but very
tellingly about the difficulties of composing with variety for
the flute:
“I have written a flute concerto, it plays for about 16 minutes:
that is enough for a flute, which does not have the variety of a
string instrument with bowings, double-stopping, harmonics
etc., isn’t it? I have taken a great deal of trouble with it and
hope it is not a total failure.”16
The concerto was thus composed very quickly and in relatively
turbulent circumstances on an extended journey in Italy. It was
composed with Holger Gilbert-Jespersen in mind, a flautist who
was involved in the earliest planning of the concert in Paris
and who gave the concerto its first performance.17
Carl Nielsen’s music had been played earlier in Paris. The
Young Composers’ Society (Unge Tonekunstneres Selskab) had
arranged a chamber concert of Danish music on 23rd Novem-
ber 1923 in collaboration with the Danish Composers’ Society
(Dansk Tonekunstnerforening) and the French organization
L’Association Française d’Expansion et d’Échanges Artistiques, a
society which, in close cooperation with the French Ministry of
Culture, had the aim of promoting international cultural
cooperation. The Danish liaison between the committee set up
in Copenhagen and the French organization was the chairman
of Young Composers’ Society, Knudåge Riisager.18 In the
planned concert Carl Nielsen’s String Quartet op. 14 was per-
formed by the Breuning-Bache Quartet.19 At a reception on 25th
November 1923 given by the Danish plenipotentiary H.A.
15 Danish violinist (1846-1930), director of the Royal
Danish Academy of Music.
16 Letter of 2.10.1926 (Dk-Kk, N.K.S. 4082-40).
17 Cf. letter from Carl Nielsen to Carl Johan Michaelsen,
22.7.1926 (Dk-Kk, acc. 1995/55 Michaelsen). Carl Nielsen
is said to have been so enthusiastic about the musicians
in the Copenhagen Wind Quintet, who had given the
first performance of his Wind Quintet from 1922, that he
promised to write a composition for each of them. The
members in 1922 were Paul Hagemann, flute (1882-
1967), Svend Chr. Felumb, oboe (1898-1972), Aage
Oxenvad, clarinet (1884-1944), Hans Sørensen, French
horn (1893-1944), Knud Larsen, bassoon. It appears from
this that the anecdote does not fit the actual circum-
stances, since Holger Gilbert-Jespersen was not a
member of the quintet until about 1927.
18 Danish composer (1897-1974).
19 Knudåge Riisager, “Dansk-fransk Kunstudveksling”,
Nationaltidende, 7.7.1923.
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15
I et brev til Anton Svendsen skriver han ganske lidt men dog
ret sigende om sine vanskeligheder ved at komponere afveks-
lende for fløjte:
“Jeg har skrevet en Fløjtekonsert, den spiller circa 16 Min: det
er nok til en Fløjte, som ikke har Strygerens Afvekslinger med
Strøgarter, Dobbeltgreb, Flag: o. s. v Ikke sandt? Jeg har gjort mig
megen Umage dermed og haaber det ikke er helt mislykket:”16
Koncerten er således komponeret på ret kort tid og under
relativt turbulente omstændigheder på en længere rejse i
Italien. Den er komponeret med Holger Gilbert-Jespersen i
tankerne, en fløjtenist, som var inddraget i de tidligste planer
for koncerten i Paris og som uropførte koncerten.17
Carl Nielsens musik var tidligere blevet spillet i Paris. Unge
Tonekunstneres Selskab havde arrangeret en kammerkoncert
med dansk musik den 23. november 1923 i samarbejde med
Dansk Tonekunstnerforening og den franske organisation
L’Association Française d’Expansion et d’Échanges Artistiques,
en forening, der i tæt forbindelse med det franske kulturmini-
sterium havde til formål at fremme internationalt kulturelt
samarbejde. Den danske forbindelse mellem den nedsatte
komité i København og den franske organisation var Unge
Tonekunstneres Selskabs formand Knudåge Riisager.18 Ved den
planlagte koncert blev Carl Nielsens Strygekvartet op. 14 opført
af Breuning-Bache kvartetten.19 Ved en festreception den 25.
november 1923 hos den danske Minister, Kammerherre H.A.
15 Violinist (1846-1930), direktør for Det Kongelige Danske
Musikkonservatorium.
16 Brev af 2.10.1926 (Dk-Kk, N.K.S. 4082-40).
17 Jf. brev fra Carl Nielsen til Carl Johan Michaelsen af
22.7.1926 (Dk-Kk, acc. 1995/55 Michaelsen). Carl Nielsen
skulle have været så begejstret for musikerne i
Københavns Blæserkvintet, som havde uropført hans
Blæserkvintet fra 1922, at han skulle have lovet at skrive
en komposition til hver af dem. Medlemmerne var i
1922 Paul Hagemann, fløjte (1882-1967), Svend Chr.
Felumb, obo (1898-1972), Aage Oxenvad, klarinet (1884-
1944), Hans Sørensen, horn (1893-1944), Knud Larsen,
fagot. Her ser det ud til at anekdoten ikke passer med de
faktiske omstændigheder, idet Holger Gilbert-Jespersen
ikke var medlem af kvintetten før omkring 1927.
18 Komponist (1897-1974).
19 Knudåge Riisager, “Dansk-fransk Kunstudveksling”,
Nationaltidende, 7.7.1923.
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20
Bernhoft, Thyra Larsen sang songs by Carl Nielsen and in a
concert at the premises of La revue musicale Christian
Christiansen21 played Variations for Piano.
Carl Nielsen participated in this concert week in
Paris. He wrote to Emil Telmányi:
“The next day I will be going for about a week to Paris. There is
to be a Danish chamber music concert down there and that is
very fine. The Breuning Quartet is to play my E flat major,
Christiansen my Variations etc. We are the guests of the French
State and it is all highly official. There are forces at work (all
the Danish artists and the French Minister) to see that I can
conduct ‘The Inextinguishable’ in the Pasdeloup Concerts.22
Actually I would rather not have gone down there, but all the
young musicians keep on saying I really must come and ‘Mother’
thinks I absolutely must. Now we’ll see what it leads to.”23
The first performance on 21st October 1926 was held at Maison
Gaveau, Salle des Concerts, Paris, and L’Orchestre de la Société
des Concerts du Conservatoire performed a programme of
works exclusively by Carl Nielsen. Emil Telmányi conducted the
prelude to Act Two of Saul and David, Symphony No. 5 and
Concerto for Flute and Orchestra, Carl Nielsen conducted the
Concerto for Violin and Orchestra and five pieces from Aladdin.24
Holger Gilbert-Jespersen was the soloist in the flute concerto
and Peder Møller in the violin concerto.
The concert had been organized on the initiative of
Carl Johan Michaelsen. He, and, as many sources mention, “a
circle of friends”, made efforts to promote Carl Nielsen’s music
abroad, as is evident from a letter to Anne Marie and Emil
Telmányi in April:
“Michaelsen has written to me from Paris that he has organ-
ized a concert of my works down there for the autumn; thinks I
myself should conduct, but if I can’t, then Hye-K. or – –
Christiansen.”25
20 (1869-1958), Danish envoy extraordinary and plenipo-
tentiary in Paris.
21 Danish pianist (1884-1955).
22 A concert series that had been resumed in 1920 by
Rhené-Baton (1879-1940) on the model of a concert
series in 1861-1884, the “Concerts Populaires”,
established by a French conductor, Jules Etienne
Pasdeloup (1819-1887).
23 Letter of 15.11.1923 (Dk-Kk, C II, 10).
24 Emil Telmányi, Af en musikers billedbog, København, 1978,
p. 177.
25 Letter of 30.4.1926 (Dk-Kk, C II, 10).
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20
Bernhoft, sang Thyra Larsen sange af Carl Nielsen og ved en
koncert i La Revue musicales lokaler spillede Christian Christian-
sen21 Variationer for klaver.
Carl Nielsen deltog i denne koncertuge i Paris. Han
skriver til Emil Telmányi:
“Dagen efter rejser jeg 8 Dage til Paris. Der skal være en dansk
Kammermusikkonsert dernede og det er meget fint. Breuning-
Kvartetten skal spille min Es dur. Christiansen mine Variatio-
ner o.s.v. Vi er Gæster hos den franske Stat og det hele er
højofficielt. Der er Krafter igang (alle de danske Kunstnere og
den franske Minister) for at jeg skal komme til at dirigere ‘Det
Uudslukkelige’ i Pasdeloup-Concerterne.22 Jeg vilde egentlig
ikke været derned, men alle de unge Musikere bliver ved at jeg
endelig skal komme med og Mor mener absolut jeg skal. Nu
faar vi se hvad det bringer med.”23
Uropførelsen den 21. oktober 1926 foregik i Maison Gaveau,
Salle des Concerts, Paris, hvor L’Orchestre de la Société des
Concerts du Conservatoire opførte et program med værker
udelukkende af Carl Nielsen. Emil Telmányi dirigerede forspil-
let til 2. akt af Saul og David, Symfoni nr. 5 og Koncert for fløjte og
orkester, Carl Nielsen Koncert for violin og orkester og 5 stykker fra
Aladdin.24 Holger Gilbert-Jespersen var solist i fløjtekoncerten
og Peder Møller i violinkoncerten.
Koncerten var arrangeret på initiativ af Carl Johan
Michaelsen. Han og, som mange kilder nævner det, “en kreds af
venner”, gjorde sig bestræbelser på at promovere Carl Nielsens
musik i udlandet, således som det fremgår af brev til Anne
Marie og Emil Telmányi fra april måned:
“Michaelsen har skrevet til mig fra Paris at han har arrangeret
en Konsert med mine Værker dernede til Efteraaret; mener jeg
selv skal dirigere, men ifald jeg ikke kan saa Hye-K. eller – –
Christiansen.”25
20 Overordnet Gesandt og befuldmægtiget Minister i Paris
(1869-1958).
21 Pianist (1884-1955).
22 En koncertserie, der var genoptaget i 1920 af Rhené-
Baton (1879-1940) efter forbillede fra en koncertserie
1861-1884 “Concerts Populaires”, etableret af fransk
dirigent: Jules Etienne Pasdeloup (1819-1887).
23 Brev af 15.11.1923 (Dk-Kk, C II, 10).
24 Emil Telmányi, Af en musikers billedbog, København, 1978,
s. 177.
25 Brev af 30.4.1926 (Dk-Kk, C II, 10).
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On the French side L’Association Française d’Expansion et
d’Échanges Artistiques was again involved in the arrangement,
but it seems that neither Young Composers’ Society nor Danish
Composers’ Society participated in the planning this time. On
the other hand, Svend Chr. Felumb from the publisher Borups
26
musikforlag was involved. In addition the Danish Embassy in
Paris was represented by the plenipotentiary H.A. Bernhoft and
the press attaché Helge Wamberg.27
In general the reception in Paris was very positive, but several
reviewers questioned the justification of concerts consisting
exclusively of works by a single composer. In Carl Nielsen’s
music the reviews noted his instrumentation, the contrasting
of timbres, the original ideas in the compositions, and the way
the works heard reflected the aesthetics of the period but were
interpreted in a highly personal manner. On the flute concerto
there were relatively few comments. Paul Le Flem wrote in
Comoedia:
“The Concerto for flute and orchestra, outstandingly per-
formed by M. Holger-Gilbert Jespersen, is the most recent work
by M. Nielsen. It has piquancy, drive and does not lack hu-
mour.” 28
There is more detail from H. de Curzon in Le Ménestrel:
“[after a discussion of the violin concerto] M. Carl Nielsen had
it followed immediately by a flute concerto which he had just
finished, and in which I again find a free treatment, capricious
echoes of the sonorities of nature, rather than a composition
properly speaking. M. Holger Gilbert Zespersen, who performed
it, has a very fine sound, pure, rounded and delicately shaded.
He has been a pupil of Hennebains and Philippe Gaubert.”29
and from Maurice Imbert in Le Courrier Musical & Théâtral:
“With a robust technique from the contrapuntal or orchestral
point of view, M. Nielsen has perfectly absorbed the style of
26 Cf. extract from letter from Svend Chr. Felumb to
Robert Brussel, head of L’Association Française
d’Expansion et d’Échanges Artistiques, 25.9.1926.
(Bibliothèque nationale de France, Paris).
27 (1888-1959), Danish press attaché in Paris.
28 Comoedia, 24.10.1926.
29 Le Ménestrel, 29.10.1926.
Carl Nielsen Udgaven CN 00041
CN Fløjtekoncerthæfte tekst 01 12
Fra fransk side var L’Association Française d’Expansion et
d’Échanges Artistiques igen involveret i arrangementet, men
det lader ikke til, at hverken Unge Tonekunstneres Selskab eller
Dansk Tonekunstnerforening deltog i planlægningen denne
gang. Derimod var Svend Chr. Felumb fra Borups musikforlag
involveret.26 Desuden var den danske ambassade i Paris repræ-
senteret ved Minister Kammerherre H.A. Bernhoft og presseat-
taché Helge Wamberg.27
Generelt var modtagelsen i Paris meget positiv, men flere
anmeldere anfægter berettigelsen af koncerter med værker
udelukkende af en enkelt komponist. I Carl Nielsens musik
bemærkes hans måde at instrumentere på, at klangfarver
sammensættes i kontraster, at kompositionerne rummer
originale idéer, og at de værker, man fik at høre, reflekterer
periodens æstetik men fortolkes på en meget personlig måde.
Om fløjtekoncerten findes kun relativt få kommentarer. Paul
Le Flem skriver i Comoedia:
“Le Concerto pour flûte et orchestre, remarquablement exécuté par
M. Holger-Gilbert Jespersen, est la dernière oevre de M. Nielsen.
Il a du piquant, de l’allant et ne manque pas d’humour.”28
Mere udførlig er H. de Curzon i Le Ménestrel:
“[efter omtale af violinkoncerten] M. Carl Nielsen l’a fait suivre
immédiatement d’un concerto de flûte, qu’il vient d’achever, et
où je vois encore le libre discours, les capricieux échos des
sonorités de la nature plutôt qu’une composition proprement
dite. M. Holger Gilbert Zespersen, qui l’a exécuté, a un très
beau son, pur, rond et délicatement nuancé. Il a été élève
d’Hennebains et de Philippe Gaubert.”29
og Maurice Imbert i Le Courrier Musical & Théâtral:
“Possédant une technique robuste, du point de vue
contrapuntique ou orchestral, M. Nielsen s’est parfaitement
26 Jf. uddrag af brev fra Svend Chr. Felumb til Robert
Brussel, leder af L’Association Française d’Expansion et
d’Échanges Artistiques, 25.9.1926. (Bibliothèque
nationale de France, Paris).
27 (1888-1959), presseattaché i Paris.
28 Comoedia, 24.10.1926.
29 Le Ménestrel, 29.10.1926.
30 Le Courrier Musical & Théâtral, 1.11.1926.
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these musicians, to the point of making use of them in a
developed fashion which takes on the stamp of personality.
Thus it is in the Concerto for Flute, for example, where the
combinations of timbres are of a wholly modern bent, worthy
of the writer of The Soldier’s Tale, although the syntax would
hardly have frightened Th. Dubois himself.”30
Two of the reviews, though, express incomprehension of the
flute concerto:
Jan Meyerheim in Paris Telegram:
“The Concerto for flute, well played by M. Jespersen, I did not
care for at all; it was beyond my comprehension.”31
and Louis Schneider in the New York Herald:
“It may be said that the Concerto for flute is massive and
difficult to comprehend. It was very well played by M.
32
Jespersen, a pupil of M. Ph. Gaubert.”
33
The concert was also mentioned in Danish newspapers, and
Politiken had made an arrangement with the French composer
Arthur Honegger,34 who reviewed the concert on 26th October
1926. Of the flute concerto he writes:
“The flute concerto, which gave us the opportunity to admire
the delightful tone and suppleness of Gilbert-Jespersen’s style, is
of lesser proportions, but full of beautiful combinations, for
example the dialogue between the flute and timpani or the
bassoon [....] We admire Carl Nielsen as a technician of the first
rank and as an artist whose abundance of creativity is con-
stantly renewed. His whole oeuvre gives the impression of
wholesomeness, power and superiority.”35
In connection with the visit to Paris Carl Nielsen was awarded
the Order of the Legion of Honour.36
30 Le Courrier Musical & Théâtral, 1.11.1926.
31 Paris Telegram, 31.10.1926.
32 New York Herald, 24.10.1926.
33 Gustav Hetsch in Berlingske Tidende 23.10.1926 and
30.10.1926, the latter an interview with Carl Nielsen
(see John Fellow, Carl Nielsen til sin samtid, Copenhagen
1999, pp. 403-405).
34 French composer (1892-1955).
35 Politiken, 26.10.1926.
36 Torben Schousboe, op. cit., p. 509.
Carl Nielsen Udgaven CN 00041
CN Fløjtekoncerthæfte tekst 01 13
incorporé la façon de ces musiciens, au point de s’en servir
d’une façon évoluée qui prend valeur de personnalité. Ainsi
dans le Concerto pour flûte, par exemple, où les combinaisons
de timbres sont d’une recherche toute moderne, digne de
l’auteur de l’Histoire du Soldat, cependant que la syntaxe n’eût
guère effarouché Th. Dubois lui-même;”30
To af anmelderne stiller sig dog noget uforstående overfor
fløjtekoncerten:
Jan Meyerheim i Paris Telegram:
“The Concerto for flute, well played by M. Jespersen, I did not
care for at all; it was beyond my comprehension.”31
og Louis Schneider i New York Herald:
“It may be said that the Concerto for flute is massive and
difficult to comprehend. It was very well played by M. Jesper-
sen, a pupil of M. Ph. Gaubert.”32
Koncerten blev også omtalt i danske aviser33 og Politiken havde
truffet en aftale med den franske komponist, Arthur
Honegger,34 som anmelder koncerten den 26. oktober 1926. Om
fløjtekoncerten udtaler han:
“Fløjtekoncerten, som gav os Lejlighed til at beundre den
henrivende Tone og Smidighed i Gilbert-Jespersens Stil, er af
mindre Proportioner, men fuld af smukke Kombinationer,
saaledes Dialogen mellem Fløjten og Pavken eller Fagotten. [...]
Vi beundrer Carl Nielsen som Tekniker af første Rang og som en
Kunstner, hvis Overflod af Skaberevne stadig fornyes. Hele hans
Værk giver Indtrykket af Sundhed, Kraft og Overlegenhed.”35
I forbindelse med besøget i Paris blev Carl Nielsen tildelt en
fransk orden: Officier de la Légion d’honneur.36
31 Paris Telegram, 31.10.1926.
32 New York Herald, 24.10.1926.
33 Gustav Hetsch i Berlingske Tidende 23.10.1926 og
30.10.1926, sidstnævnte et interview med Carl Nielsen
(se John Fellow, Carl Nielsen til sin samtid, København,
1999, s. 403-405).
34 Fransk komponist (1892-1955).
35 Politiken, 26.10.1926.
36 Torben Schousboe, op. cit., s. 509.
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The second performance of the flute concerto took place on
8th November 1926 during a Danish music week in Oslo. The
orchestra of the society Filharmonisk Selskap played, con-
ducted by Carl Nielsen with Holger Gilbert-Jespersen as soloist.
The Danish week held the attention of the Norwegian press,37
which featured not only advertisements and detailed reviews of
the concerts but also advance notices, dealing with among
others Carl Nielsen. In the reviews the flute concerto is rather
overshadowed by the Fifth Symphony, which had been per-
formed on 4th November 1926. It is praised, however, for the
flexible orchestral transitions and bold harmonies as well as
the soloist’s execution of the work. The form of the composi-
tion is described as unusual inasmuch as the expected formal
scheme is replaced by a freer development.38
The first Danish performance took place on 25th January 1927
in the second concert of the Music Society (Musikforeningen)
with Holger Gilbert-Jespersen as soloist and Carl Nielsen
conducting.39 As mentioned earlier, the flute concerto had
been written in great haste. In particular, the end of the second
movement seems to have posed Carl Nielsen certain problems,
and it appears that he was not satisfied with the ending as it
was at the first performance in Paris and the concert in Oslo.
He therefore composed a new one which he finished at the
beginning of January.40
Although they are not all equally enthusiastic, the reviewers
are in general positively inclined. William Behrend writes in
Berlingske Tidende:
“The actual concerto is a fantasy, living, speaking, often
surprising, now intimately communicative, now escaping into
gentle, faraway dreaming.
There are (fortunately) no signs of weakness to be
found in this music; on the contrary both will and a freely
flowing mind, now inspired by nature, now fickly following its
37 Morgenbladet, Tidens Tegn, 2.11-12.11.1926.
38 Tidens Tegn, 9.11.1926, and Morgenbladet, 9.11.1926.
39 The remainder of the concert consisted of W.A. Mozart,
Overture to the opera La clemenza de Tito, D. Milhaud,
Serenade for Small Orchestra, J.S. Bach, Brandenburg
Concerto No. 5, R. Simonsen, Winter for choir, soprano
solo og orchestra. In The Music Society’s programme
the title of the work is “Concert for Flute and Small
Orchestra”.
40 Cf. letter from Carl Nielsen to Anne Marie Carl-Nielsen
of 4.1.1927, Torben Schousboe, op. cit., Copenhagen
1983, p. 515.
Carl Nielsen Udgaven CN 00041
CN Fløjtekoncerthæfte tekst 01 14
Anden opførelse af fløjtekoncerten fandt sted den 8. november
1926 ved en dansk musikuge i Oslo. Filharmonisk Selskaps
Orkester spillede under Carl Nielsens ledelse med Holger
Gilbert-Jespersen som solist. Ugen havde den norske presses
bevågenhed,37 og man bringer i forbindelse med den danske
uge ikke blot annoncer og udførlige anmeldelser af koncer-
terne men også foromtaler, bl.a. om Carl Nielsen. I anmeldel-
serne står fløjtekoncerten noget i skyggen af 5. symfoni, som
var blevet opført d. 4. november 1926. Den roses dog for
orkesterpartiets smidige overgange og dristige harmonier samt
solistens udførelse af værket. Kompositionens form beskrives
som usædvanlig med henvisning til, at det forventede form-
skema er erstattet af et friere forløb.38
Den danske førsteopførelse fandt sted den 25. januar 1927 ved
Musikforeningens 2. koncert med Holger Gilbert-Jespersen som
solist og Carl Nielsen som dirigent.39 Som tidligere omtalt var
fløjtekoncerten blevet til i stor hast. Specielt slutningen af 2.
sats lader til at have voldt Carl Nielsen visse problemer, og det
ser ud til at han ikke var tilfreds med slutningen, som den
forelå ved uropførelsen i Paris og koncerten i Oslo. Han kompo-
nerede derfor en ny, som han afsluttede i begyndelsen af
januar.40
Selv om de ikke alle udtrykker lige stor begejstring, er anmel-
derne generelt set positivt indstillet. William Behrend skriver i
Berlingske Tidende:
“Selve Koncerten er en Fantasi, levende, talende, ofte overra-
skende, snart fortrolig meddelsom, snart flygtende bort i milde
fjerne Drømmerier.
Der er (heldigvis) ingen Svaghedstegn at spore i
denne Musik, tværtimod baade Vilje og et frit bølgende Sind,
snart inspireret af Naturen, snart lunefuldt følgende egne
37 Morgenbladet, Tidens Tegn, 2.11. - 12.11.1926.
38 Tidens Tegn, 9.11.1926 og Morgenbladet, 9.11.1926.
39 Koncertens øvrige program bestod af: W.A. Mozart,
Ouverture til operaen Titus, D. Milhaud, Serenade for
mindre orkester, J. S. Bach, Brandenburgerkoncert nr. 5, R.
Simonsen, Vinter for kor, sopransolo og orkester. I
Musikforeningens program er værkets titel: “Koncert
for Fløjte og mindre orkester”.
40 Jf. brev fra Carl Nielsen til Anne Marie Carl-Nielsen af
4.1.1927, Torben Schousboe, op. cit., København 1983, s.
515.
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own deeper urges, but all is pure music – without ulterior
motives or pitfalls of ‘cleverness’. Both humour (duet between
flute and trombone) and imagination (the extended cadenza-
like section towards the end of the first movement) have their
place in this concerto, in which the orchestra too, not least its
winds, showed themselves as ‘stout fellows’, and brought both
composer and soloist equal acclaim.”41
Less positive is Brieghel-Müller in Dansk Musiktidsskrift:
“The last half of the programme featured two Danish first
performances, Carl Nielsen’s Flute Concerto and Rud.
Simonsen’s ‘Winter’ for choir, soprano solo and orchestra. Both
compositions share the fact that irrespective of other valuable
musical qualities, because of inherent formal deficiencies they
had difficulty making any stronger or enduring impression.
The flute concerto for example hardly lived up to its name; it
was rather to be viewed as two improvisation-like sketches. The
dialogic contrast between the concertante instrument and the
orchestra was replaced here by a friendly chat, often coloured
by a sarcastic temperament, between the flute and other
orchestral units, or else the flute – there was only Mr. Gilbert
Jespersen’s – formed part of an overall orchestral texture. The
only truly concerto-like thing was the cadenza at the end of the
first movement, which like the rest of the flute part was
supremely executed. The musical ideas in the piece – and this
should be stressed – were expressed with a freedom and
naturalness that was as attractive as it was refreshing.”42
Gunnar Heerup is most thorough in his review in Ekstrabladet
as far as the structure of the composition, which had caused
Carl Nielsen problems, is concerned:
“The event of the evening was the first Danish performance of
Carl Nielsen’s new flute concerto in two movements. The first
movement fulfilled all justified expectations, while the second
movement disappointed. In several of his recent compositions
41 Berlingske Tidende, 26.1.1927.
42 Dansk Musiktidsskrift, vol. 2, No. 5, February 1927.
Carl Nielsen Udgaven CN 00041
CN Fløjtekoncerthæfte tekst 01 15
dybere Indskydelser, men alt er det ren Musik – uden
Bihensigter eller ‘aandrige’ Faldgruber. Baade Humor (Duet
mellem Fløjte og Basun) og Fantastik (det omfattende
kadenceagtige Afsnit mod Slutning af 1ste Sats), har Plads i
denne Koncert, hvori ogsaa Orkestret, ikke mindst dets Blæsere,
viste sig som ‘føre Karle’, og som indbragte Komponist og Solist
lige stor Hyldest.”41
Knap så positiv er Brieghel-Müller i Dansk Musiktidsskrift:
“Programmets sidste Halvdel bragte to danske Førsteopførelser,
Carl Nielsens Fløjtekoncert og Rud. Simonsens ‘Vinter’ for Kor,
Sopransolo og Orkester. Begge Kompositioner har det tilfælles,
at de, uanset deres i øvrigt værdifulde musikalske Egenskaber,
paa Grund af iboende formelle Mangler havde vanskeligt ved at
gøre noget stærkere eller blivende Indtryk. Fløjtekoncerten
svarede saaledes kun daarligt til sit Navn; den var nærmest at
opfatte som to improvisatorisk klingende Smaaskitser. Det
dialogiske Modsætningsforhold mellem det koncerterende
Instrument og Orkestret var her afløst af et venskabeligt, ofte
af sarkastisk Lune præget Causeri mellem Fløjten og andre
Orkesterenheder, eller ogsaa indgik Fløjten – der fandtes kun
Hr. Gilbert Jespersens – som Led i en samlet Orkestersats.
Egentlig koncertmæssig var kun Kadencen i Slutningen af
første Sats, der ligesom det øvrige Fløjteparti blev mesterligt
udført. De musikalske Tanker i Stykket var, hvilket bør betones,
fremsat med en Frihed og Naturlighed, der var lige saa sympa-
tisk som forfriskende.”42
Gunnar Heerup er mest grundig i sin anmeldelse i Ekstrabladet
med hensyn til kompositionens struktur, som havde voldt Carl
Nielsen problemer:
“Aftenens Begivenhed var den danske Førsteopførelse af Carl
Nielsens nye Fløjtekoncert i to Satser. Førstesatsen opfyldte alle
berettigede Forventninger, medens Andensatsen derimod
skuffede. Carl Nielsen har i flere af sine senere Kompositioner i
41 Berlingske Tidende, 26.1.1927.
42 Dansk Musiktidsskrift, 2. Aarg., nr. 5, februar 1927.
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Carl Nielsen has worked more than before with the sound as
such, and with the imaginatively improvisational, not rarely at
the expense of the clear sculptural qualities that are so extraor-
dinarily typical of his earlier works. It is as if these two things,
the sculptural and the imaginative (one is tempted to say the
old and the new Carl Nielsen) have not yet become reconciled
to each other. What we have here is a stylistic renewal for Carl
Nielsen, which one must hope he manages to carry through to
become something classic. In the new work, the flute concerto,
too, the two beings struggle, but in the first movement they
have come to what seems to be a happy compromise: there are
loose but clear outlines, framing a fullness of imaginatively
improvisational wonders; the freshness of all these brilliant
spontaneities fully makes up for the apparently rather loose
and vague structure. The second movement is a different
matter; it makes too much of a piecemeal impression, and the
wealth and freshness of the ideas do not seem the same as in
the first movement; in particular the last third of the move-
ment seems without justified connection with the rest, and
along with the rhapsodically abrupt ending gives the move-
ment a strangely short-tailed impression. One has the feeling
that at least two movements have been tinkered together into
one, and that both head and tail have been lopped off the last
one, so that it will fit better.
Of course Gilbert-Jespersen played the work into a
success.”43
The flute concerto did not see many performances in Carl
Nielsen’s lifetime. Besides those already mentioned, it was
played in Tivoli on 3rd September 1927, in Gothenburg on 12th
February 1930, at Emil Telmányi’s Chamber Orchestra Concert
on 1st April 1930 and in Tivoli on 10th June 1931. For the
performance in Gothenburg Carl Nielsen had written the
following programme note:
“FOR THE PROGRAMME.
Carl Nielsen’s Flute Concerto.
First Movement.
The concert is one of the composer’s later works and despite
the fact that the first movement begins with a dissonance,
rœ œ œ œ œ œ œ œ
‰. œ œ
& c bw
f
it must come under the heading ‘more temperate zone’. The
43 Ekstrabladet, 26.1.1927.
Carl Nielsen Udgaven CN 00041
CN Fløjtekoncerthæfte tekst 01 16
højere Grad end tidligere beskæftiget sig med det klanglige og
det fantastisk improvisatoriske, ikke sjældent paa Bekostning af
den klare Plastik, der i saa ualmindelig Grad udmærker hans
tidligere Værker. Det er, som om disse to Ting, det plastiske og
det fantastiske, man fristes til at sige: den gamle og den nye
Carl Nielsen, endnu ikke rigtig har udsonet sig med hinanden.
Der er her Tale om en Stilfornyelse hos Carl Nielsen, som man
maa haabe, han naar at føre igennem til Klassicitet. Ogsaa i det
nye Værk, Fløjtekoncerten, kæmper de to Væsner, men de har i
Førstesatsen indgaaet et tilsyneladende lykkeligt Kompromis:
der er løse, men klare Omrids, indrammende en Fylde af
fantastisk improvisatoriske Vidunderligheder; alle disse geniale
Umiddelbarheders Friskhed opvejer fuldt ud den tilsynela-
dende noget løse og vage Struktur. Anderledes Andensatsen,
den gør i for høj Grad et sammenstykket Indtryk, ligesom
Indfaldenes Rigdom og Friskhed ikke synes den samme som i
første Sats, særlig Satsens sidste Tredjedel synes, uden begrun-
det Forbindelse med det øvrige og giver sammen med den
rapsodiske abrupte Afslutning Satsen et underligt stumprum-
pet Udseende. Man har paa Fornemmelsen at i alt Fald to Satser
er blevet smækket sammen til én, og at der er skaaret baade
Hoved og Hale af den sidste, for at det bedre skulde passe.
Gilbert-Jespersen spillede selvfølgelig Værket en
Sukces til.”43
Fløjtekoncerten fik ikke mange opførelser i Carl Nielsens
levetid. Udover de allerede nævnte blev den spillet i Tivoli den
3. september 1927, i Göteborg den 12. februar 1930, ved Emil
Telmányis Kammerorkesterkoncert den 1. april 1930 og i Tivoli
den 10. juni 1931. Til opførelsen i Göteborg havde Carl Nielsen
skrevet følgende programnote:
“TILL PROGRAMMET.
Carl Nielsens flöjtkonsert.
Förste Sats.
Konserten er et af Komponistens senere Arbejder og trods det at
förste Sats begynder med en Dissonans
rœ œ œ œ œ œ œ œ
‰. œ œ
& c bw
f
43 Ekstrabladet, 26.1.1927.
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 maa det dog komme ind under Betragtningen: mildere Zone.
Begyndelsen er nærmest holdt i fri, fantaserende Tone og
Soloinstrumentet bevæger sig ligesom sögende indtil det faar

.
beginning is kept more or less in a free, fantasizing tone and fat i fölgende lille, mere bestemte Motiv:
. > . b œ. œ. œ œ œ. b œ n œ œ œ. œ.
b œ. œ. œ. œ. œ. b œ b œ œ œ. œ. œ. œ. œ. œ b œ b œ
& ‰
the solo instrument moves rather searchingly until it gets hold
of the following little more definite motif:
. p
. > . b œ. œ. œ œ œ. b œ n œ œ œ. œ.
b œ. œ. œ. œ. œ. b œ b œ œ œ. œ. œ. œ. œ. œ b œ b œ
& ‰
som senere optages af Orkestret og kommer til at spille en vis
p Rolle i en ret udviklet Overgang hen till Satsens 2:det Tema
which is later taken up by the orchestra and comes to play a (Sangtemaet). Dette Tema fremföres först af Orkestret:
certain role in a rather highly developed transition to the œ- œ- œ- œ- b œ œ œ œ œ œ œ œ œ b œ . œ œ œ œ œ œ
J
movement’s second subject (the song subject). This subject is & Œ
p dolce
3 3 3

espress.
first stated by the orchestra:
œ- œ- œ- œ- b œ œ œ œ œ œ œ œ œ b œ . œ œ œ œ œ œ hvorefter Soloflöjten spiller det samme en Kvart höjere og
J
& Πsenere gaar over i en lille Samtale med en Soloklarinet og en
p dolce
3 3 3

espress.
Fagot. En stærk crescendo-Takt faar derefter Soloinstrumentet
after which the solo flute plays the same a fourth higher and drevet op til nogle mere lidenskabelige Ytringer, men det er
later moves into a small conversation with a solo clarinet and a ikke saa slemt ment og vi glider atter ind i fredelige Tilstande
bassoon. A string crescendo then stirs the solo instrument up med lidt Pusleri hist og her. Men saa synes det som om Instru-
to some more passionate utterances, but it is not meant so menterne begynder at kede sig og tager derfor fat med et noget
seriously and again we slide into peaceful conditions with mere markert og fugert Tema, som pludselig afbrydes af
small stirrings here and there. But then it seems as if the Paukerne der siger:
? Ó ‰. œ ≈ œ ≈ œ ≈ œ
Rœ œ œ
instruments begin to get bored, and therefore they plunge into
a rather more marked and fugato subject which is suddenly ƒ
interrupted by the timpani, which says: og jager en Solobassun ud af sin forrige Tilstand. Soloflöjten
? Ó ‰. œ ≈ œ ≈ œ ≈ œ
Rœ œ œ
bliver helt nervös og skriger op
>œ > > > > > >
ƒ œ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ
œ ˙
and chases a solo trombone out of its previous mode. The solo & ‰ ≈ ≈ ≈ ≈ ≈ ≈ ≈
ƒ
flute gets quite nervous and proclaims shrilly:
>œ > > > > > >
œ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ og nu kommer der mere Liv i Tingene. Efterhaanden bliver
œ ˙
& ‰ ≈ ≈ ≈ ≈ ≈ ≈ ≈ Orkestersatsen ogsaa fyldigere og mere bewæget, dog det varer
ƒ
ikke længe; thi Flöjten kan ikke fornægte sin Natur, den hörer
and now things get more lively. Gradually the orchestral hjemme i Arkadien og foretrækker de pastorale Stemninger;
texture becomes fuller and more mobile, but this does not last Komponisten er derfer nödt til at rette sig efter det blide
long; for the flute cannot deny its nature, it belongs in Arcadia Væsen, ifald han ikke vil risikere at stemples som en Barbar. Nu
and prefers the pastoral moods; the composer therefore has to kommer der ingen flere nye Momenter i 1:ste Sats, men
indulge the gentle creature, if he does not want to be stigma- Solisten har dog et Par frie Kadenzer og en Duet med en Solo-
tized as a barbarian. Now there are no more new elements in Klarinet som man kanske lægger mærke til. Satsen ender ikke
the first movement, but the soloist does have a couple of free som den begyndte, tvertimod; den lægger sig blidt til Ro i Ges-
cadenzas and a duet with a solo clarinet which one perhaps dur, hverimod den begyndte dissonerende og uden Toneart.
notices. The movement does not end as it began – on the
contrary, it comes gently to rest in G flat major, whereas it
began dissonantly and with no key.

Carl Nielsen Udgaven CN 00041 xvii

CN Fløjtekoncerthæfte tekst 01 17 12/01/05, 21:32


Second movement
To get away from the gentle G flat major that ended the first
movement the orchestra raps out some notes slightly mali-
ciously at the beginning of this movement, but it quickly
becomes gentler and when the solo flute enters, it is quite
childlike and innocent in an allegretto tempo.
# 2 œ. œ. œ. œ. œ. . . >
& 4 œ œ œ ≈ œ œ œ œ ≈ œ œ œJ œ Jœ œ œ œ œ œ œ œ œ œ b œ œ œ ˙
Through various ‘spicier’ statements we come in the end to an
adagio where the solo instrument sings the following lament-
ing melody,
œ. bœ œ n œ œ- œ nœ bœ
œ n œ œ œ b œ œ >œ .
œ œ bœ œ
Adagio
& 43 Œ J ‰ J
espress.
which is also developed and elucidated in the orchestra. After
this the first (innocent) motif comes back and is treated again
but presently moves into some slow bars from the adagio. Then
something new happens, since a little march motif appears,
putting the solo flute in a better mood, and the movement
ends in this lighter, more superficial and smiling mood.”44
The source material for the flute concerto consists of a pencil
draft and ink fair copy of the score, a solo part, and orchestral
parts used in the first performance. To these we can add a few
sketches and various copies more or less directly attributable to
Carl Nielsen. All the contemporary sources are handwritten since
the concerto was only printed after the death of Carl Nielsen.
The main source for the present edition is the ink
fair copy, which has been collated with the draft and the solo
part. The draft, especially in the second movement, is very
sketch-like, in several placed notated in short-score form.
In the work with the source material there have been
two problems, both caused by the circumstances of composition:
the fair copy was written out in three different hands, and the
solo part is not identical to the flute part in the score. The fair
44 Programme note viewed as a misplaced insertion in the
programme for the first performance in Denmark,
25.1.1927 (Dk-Kk, CNA, I.E.b.1b. Concert programmes
1920-1929). Since the insertion is missing from the
programme for the Gothenburg concert of 12.2.1930
(Dk-Kk, CNA, I.E.b.1a. Concert programmes 1930-1965)
and was in fact printed in Gothenburg and mentions
the other Carl Nielsen works that were played in that
concert, it must have been written for that occasion.
Carl Nielsen Udgaven CN 00041
CN Fløjtekoncerthæfte tekst 01 18
Anden Sats.
For at komme bort fra den blide Ges-dur som afsluttede 1:ste
Sats prikker Orkestret lidt ondt nogle Toner ud i Begyndelsen af
denne Sats, men det bliver hurtigt mildere og naar Soloflöjten
sætter ind, er der helt barnligt og uskyldigt i Allegretto-Tempo
# 2 œ. œ. œ. œ. œ. . . >
& 4 œ œ œ ≈ œ œ œ œ ≈ œ œ œJ œ Jœ œ œ œ œ œ œ œ œ œ b œ œ œ ˙
Gennem adskillige mere ‘krydrede’ Perioder kommer vi tilsidst
hen til en Adagio, hvor Soloinstrumentet synger fölgende
klagende Melodi
œ. bœ œ n œ œ- œ nœ bœ
œ n œ œ œ b œ œ >œ .
œ œ bœ œ
Adagio
& 43 Œ J ‰ J
espress.
som ogsaa i Orkestret udvikles og belyses. Derefter kommer det
förste (uskyldige) Motiv tilbage og behandles paany, men gaar
atter over i nogle langsomme Takter fra Adagio’en. Saa sker der
noget nyt, idet der optræder et lille Marsch-Motiv som sætter
Solo-Flöjten i bedre Lune og Satsen ender i denne lettere, mere
overfladiske og smilende Stemning.”44
Kildematerialet til fløjtekoncerten består af blyantskladde og
blækrenskrift af partituret, solostemme og orkesterstemmer
brugt ved uropførelsen. Hertil kommer nogle få skitser og
diverse afskrifter med mere eller mindre direkte tilknytning til
Carl Nielsen. Alle samtidige kilder er håndskrevne, da koncer-
ten først blev trykt efter Carl Nielsens død.
Hovedkilden til nærværende udgave er blæk-
renskriften, som er kollationeret med kladden og solostem-
men. Kladden er specielt i anden sats meget skitseagtig, flere
steder noteret i particel.
I arbejdet med kildematerialet har der været to
problemer, begge affødt af omstændighederne for værkets
tilblivelse: renskriften er skrevet af tre forskellige hænder og
solostemmen er ikke identisk med fløjtestemmen i partituret.
Renskriften indeholder passager, skrevet af henholdsvis Carl
44 Programnote set som fejlagtigt placeret indlæg i
programmet for førsteopførelsen i Danmark 25.1.1927
(Dk-Kk, CNA, I.E.b.1b. Koncertprogrammer 1920-1929).
Da indlægget mangler ved koncertprogrammet til
Göteborgkoncerten 12.2.1930 (Dk-Kk, CNA, I.E.b.1a.
Koncertprogrammer 1930-1965) og iøvrigt er trykt i
Göteborg og indeholder omtale af de øvrige Carl
Nielsen-værker, som blev spillet ved den koncert, må
det være skrevet til den lejlighed.
xviii
12/01/05, 21:32

copy has passages written out by Carl Nielsen, Emil Telmányi
and Georg Wiegelmann respectively.45 The last of these fair-
copied the new end of the concerto which was composed for
the performance in Copenhagen. Since Carl Nielsen was
pressed for time, Telmányi fair-copied the last section of the
first movement and the whole second movement with the
ending from the performances in Paris and Oslo. This first fair
copy was presumably approved by the composer, including the
additions, mainly of dynamics and articulation, which are not
found in the draft and thus are not known from Carl Nielsen’s
hand. However, Emil Telmányi added a number of details in the
ink fair copy in connection with the preparations for printing
after Carl Nielsen’s death; additions which according to the
preface to the printed edition are put in brackets. Additions by
Telmányi which must have been made after Carl Nielsen’s
death have been tacitly removed in this edition.
The solo part, like the score, was fair-copied by Carl
Nielsen and Emil Telmányi. As is evident from the above, the
solo part was sent to Holger Gilbert-Jespersen in smaller portions
as it was composed. Carl Nielsen and Emil Telmányi therefore
did not have it at hand when fair-copying the score, and the
details they added in connection with the fair-copying of the
solo part are not always included in the fair copy of the score. In
the present edition Carl Nielsen’s hand has been followed – that
is, in the bars where he has written one fair copy and Telmányi
the other, Carl Nielsen’s fair copy of the solo flute part has been
give the highest priority, regardless of whether it is in the score
or the solo part. In the bars where Carl Nielsen has fair-copied
both score and solo part, he appears to have been most careful
with the solo part, so this has been assigned highest priority. In
this respect we have deviated from the general principle of the
Carl Nielsen Edition of using the Fassung letzter Hand.
Kirsten Flensborg Petersen
45 Georg Wiegelmann is known from an undated voucher
for the fair-copying of the end of the flute concerto (Dk-
Kk, Musikforeningens Arkiv, Capsule 33).
Carl Nielsen Udgaven CN 00041
CN Fløjtekoncerthæfte tekst 01 19
45
Nielsen, Emil Telmányi og Georg Wiegelmann. Sidstnævnte
har renskrevet den nye slutning til koncerten, som blev
komponeret til opførelsen i København. Da Carl Nielsen har
været i tidsnød, har Telmányi renskrevet sidste del af første sats
og hele anden sats med slutningen fra opførelserne i Paris og
Oslo. Denne første renskrift har formodentlig været godkendt
af komponisten, inklusiv de tilføjelser af overvejende dynamik
og artikulation, som ikke findes i kladden og dermed ikke
kendes fra Carl Nielsens hånd. Imidlertid har Emil Telmányi
tilføjet en række detaljer i blækrenskriften i forbindelse med
forberedelse til trykning efter Carl Nielsens død, tilføjelser,
som i følge forordet til den trykte udgave er sat i parentes.
Tilføjelser af Telmányi, som må være kommet til efter Carl
Nielsens død, er i nærværende udgave stiltiende fjernet.
Solostemmen er som partituret renskrevet af
henholdsvis Carl Nielsen og Emil Telmányi. Som det fremgår af
førnævnte omtale, blev solostemmen sendt til Holger Gilbert-
Jespersen i mindre portioner, efterhånden som den blev
komponeret. Derfor har Carl Nielsen og Emil Telmányi ikke
haft den til rådighed ved renskrivningen af partituret, og de
detaljer, som de har tilføjet i forbindelse med renskrivning af
solostemmen, er ikke altid medtaget i renskriften af partituret.
I nærværende udgave er Carl Nielsens hånd fulgt; det vil sige,
at i de takter, hvor han har skrevet den ene renskrift og
Telmányi den anden, har Carl Nielsens renskrift af solofløjten
haft højeste prioritet, uanset om den findes i partituret eller
solostemmen. I de takter, hvor Carl Nielsen har renskrevet såvel
partitur som solostemme ser det ud til, at han var været mest
omhyggelig i solostemmen, og derfor har denne haft højeste
prioritet. På det punkt fraviges således Carl Nielsen Udgavens
generelle princip om “Fassung Letzter Hand”.
Kirsten Flensborg Petersen
45 Georg Wiegelmann kendes fra udateret bilag for
renskrift af slutningen af fløjtekoncerten (Dk-Kk,
Musikforeningens Arkiv, kapsel 33).
xix
12/01/05, 21:32
CN Fløjtekoncerthæfte tekst 01 20 12/01/05, 21:32
 Concerto for Flute and Orchestra, ink fair copy, (Source A), first Koncert for Fløjte og Orkester, blækrenskrift (kilde A ), første sats
movement bb. 22-24: Revision of slurs and articulation in solo t. 22-24: Revision af buer og artikulation i solofløjte t. 23 af
flute b. 23 by Emil Telmányi in connection with posthumous Emil Telmányi i forbindelse med posthum trykning.
printing.

Carl Nielsen Udgaven CN 00041 xxi

CN Fløjtekoncerthæfte tekst 01 21 12/01/05, 21:32

 Concerto for Flute and Orchestra, ink fair copy (Source A), second
movement bb. 215-232: 2nd ending of Flute Concerto, fair-copied
by Georg Wiegelmann with additions by Carl Nielsen and
additions in brackets by Emil Telmányi in connection with
posthumous printing.
Carl Nielsen Udgaven CN 00041
CN Fløjtekoncerthæfte tekst 01 22
Koncert for Fløjte og Orkester, blækrenskrift (kilde A), anden sats
t. 215-232: 2. slutning af fløjtekoncerten, renskrevet af Georg
Wiegelmann med tilføjelser af Carl Nielsen og tilføjelser i
parentes af Emil Telmányi i forbindelse med posthum trykning.
xxii
12/01/05, 21:32
 Concerto for Flute and Orchestra, pencil draft (Source B), second Koncert for Fløjte og Orkester, blyantskladde (kilde B ), anden sats
movement bb. 44-70. t. 44-70.

Carl Nielsen Udgaven CN 00041 xxiii

CN Fløjtekoncerthæfte tekst 01 23 12/01/05, 21:32

 B E S Æ T N I N G
O R C H E S T R A

2 oboi

2 clarinetti

2 fagotti

2 corni

1 trombone

timpani

archi

Carl Nielsen Udgaven CN 00041 xxiv

CN Fløjtekoncerthæfte tekst 01 24 12/01/05, 21:32

 F O R K O R T E L S E R
A B B R E V I A T I O N S

b. bar
bb. bars
brass brass instruments
cb. contrabbasso
cl. clarinetto
CN Carl Nielsen
CNA Carl Nielsen Arkivet (The Carl Nielsen Archives)
CNS Carl Nielsens Samling (The Carl Nielsen Collection)
cor. corno
div. divisi
DK-Kk Det Kongelige Bibliotek, København
(The Royal Library, Copenhagen)
fg. fagotto
fl. flauto
fol. folio
marc. marcato
N.K.S. Ny Kongelig Samling (New Royal Collection)
ob. oboe
Pl. No. Plate Number
sord. sordino
spicc. spiccato
stacc. staccato
str. strings
ten. tenuto
timp. timpani
trb.b. trombone basso
trem. tremolo
unis. unison
va. viola
vc. violoncello
vl. violino
woodw. woodwind instruments

Carl Nielsen Udgaven CN 00041 64

3CN fløjtekonc noder 037-064 64 12/01/05, 21:32

 C R I T I C A L
C O M M E N T A R Y

In the Critical Commentary the following conventions
are used:
1 “by analogy with” is used when something has been
“added”, “emended” or “omitted” by analogy with another
passage in the main source. The analogy may be vertical.
When something is added “by analogy with” one or more
instruments, it is understood that the analogy is with the
same place in the same bar(s). Or it may be horizontal.
When something is added “by analogy with” one or more
bars, it is understood that the analogy is with a parallel
place in the same instrument(s).
2 “as in” is used when something is “added”, “emended” or
“omitted” to correspond to the same place in another
source.
3 “in accordance with” is used in cases where there is no
authoritative source, only a guideline – for example
printed part material.
In the bar number column, the symbol “+” is used to indicate
an upbeat to the bar in question.
S O U R C E S
C O N C E R T O F O R F L U T E
A N D O R C H E S T R A
A Score, partly autograph, fair copy, printing manuscript
B Score, autograph, draft
C Solo part, partly autograph
D Parts, printing manuscript
E Score, autograph, sketch
F Front cover of score, partly autograph
G Score, transcript
A Score, partly autograph, fair copy, printing manuscript.
DK-Kk, CNS 69a.
Title page: “Carl Nielsen / Konsert for Fløjte / og / Orkester /
(Partitur)”
Datings: first movement end-dated: “E.T. Firenze. 6-9-26.”;
second movement, first ending end-dated: “E.T.Firenze.
1.-X-26”.
Donated to the Royal Library by Anne Marie Carl-Nielsen in
1935.
30x22.5 cm, 29.5x24.5 cm, 6 gatherings with 24 bifolios and
1 folio as well as 9 folios, totalling 114 pages, including title
page and one blank page; the pages are written on in ink
(CN, Emil Telmányi and Georg Wiegelmann). Front and back
covers in brown paper are presumably not the original covers.
Pagination:
first movement: 1-59
second movement: 60-104 (60-81 have old pagination 1-22)
first ending of second movement: 23-32 (25-27 are also
paginated 82-84, 30 is also paginated 85).
Paper type:
title page and pp. 1-81, 12 staves; pp. 82-105, 16 staves, paper
cut; first ending, 12 staves.
Hands:
First movement:
pp. 1-41: Carl Nielsen. Clefs and key signatures on
some pages in an unknown hand.
pp. 42-59: Emil Telmányi
Second movement with reworked ending:
pp. 60-81: Emil Telmányi
pp. 82-104: Georg Wiegelmann
Second movement, first ending:
Emil Telmányi; additions in pencil (CN).
Title heading p. 1: “Konsert for Fløjte / Carl Nielsen.”; p. 60:
“Fløjtekonsert” (Emil Telmányi).
The score has been restored. Additions in pencil and blue
crayon (CN); additions in pencil, red crayon, three different
blue pens (Emil Telmányi). The source comprises the whole
concerto and the first ending of the second movement.

Carl Nielsen Udgaven CN 00041 65

CN Fløjtekoncerthæfte tekst 02 65 12/01/05, 21:33

 B Score, autograph, draft. C Solo part, partly autograph.
DK-Kk, CNS 69b. DK-Kk, CNS 69c.
Dating p. 35, end of first movement: “Firenze den 6-9-26.” Title page: “Carrl Nielsen / Fløjtekonsert / Solostemme”.
Donated to the Royal Library by Irmelin Eggert Møller in 1958. Dating: p. 14, end of first movement: “Firenze / d. 6-9-26.”
35x28 cm, 62 pages written in pencil, numbered 1-38, 1-11 (Emil Telmányi).
+ unnumbered page, 1 + unnumbered page, 2 + unnum- Donated to the Royal Library by Irmelin Eggert Møller in 1958.
bered page, 1-8, bound with flyleaves in green full binding 30x22 cm, 34.5x27 cm, 5 bifolios and 7 folios, including 2
by the Library. bifolios in gathering, totalling 34 pages, 28 of which are
Paper type: written on in ink.
pp. 1-6: No. 8. Folio 22 22 staves Pagination: first movement: 1-14; second movement: 1-5,
pp. 1, 3, staff 15 has 6 lines blank page, 6-8, blank page, 9-13 (9-13 formerly numbered 1-5).
pp. 7-8: 22 staves Paper type:
pp. 9-10: No. 8. Folio 22 22 staves First movement: 12 staves
pp. 11-12: 22 staves Second movement: pp. 1-8 + 2 blank pages: 12 staves; pp. 9-13
pp. 13-20: (33x24.5 cm) 2 x 8 staves + 3 blank pages: Wilhelm Hansen, Nr. 3. F. 12.
pp. 21-22: B. & H. Nr. 6 E. 12 staves Hands:
pp. 23-24: 12 staves First movement:
pp. 25-28: (33.5x24.5 cm) 2 x 8 staves pp. 1-2: Carl Nielsen
pp. 29-36: (30x22 cm) handmade paper, cut 12 staves pp. 3-6: Emil Telmányi
pp. 37-38: (33x24.5 cm) 2 x 8 staves pp. 7: Carl Nielsen
pp. 1-8: B. & H. Nr. 4. C. / 7. 14. (6 systems piano paper) pp. 8: solo part Carl Nielsen; reduced score, 3 top
pp. 2, 4 upside down; pp. 5, 7, staff 15 has 6 lines systems, Emil Telmányi
pp. 9-10: (30x22 cm cut) 12 staves pp. 9-12: Carl Nielsen
pp. 11 + unnumbered page: (33.5x24.5 cm) 2 x 8 staves pp. 13-14: Emil Telmányi
p. 1 + unnumbered page: (30x22 cm) 12 staves Second movement:
p. 2 + unnumbered page: (30x22 cm) 12 staves pp. 1-5: Carl Nielsen; p. 4 reduced score systems 2-3 (CN?)
pp. 1-8: No. 8. Folio 22 22 staves p. 6: Carl Nielsen / Emil Telmányi
The source has been restored. The end of the second move- p. 7: Emil Telmányi
ment is the draft for the reworked ending by Carl Nielsen. p. 8: Emil Telmányi / ? (notes crossed out in pencil)
Title heading on pp. 5, 9: “Fløjte-Concert”; p. 12: “fløjtekon- pp. 9-13: Carl Nielsen
zert”; p. 13: “fløjtekonzert.”; p. 21: “fløjtekoncert”; p. 37: The solo part comprises both the flute part and a staff with
“fløjtekonsert (Indledning til II)”1; pagination 1-11, p. 5: “II”; reduced score. The end of the second movement is the
pagination 1-8, p. 1: “Ny Slutning til fløjtekoncert”2; p. 5: reworked ending. The source has been restored. At the end
“Ny Slutning til Fløjtekonsert”. of the second movement: “Fine”. Additions in pencil (CN,
Additions in blue and black pen, additions in pencil (Emil Emil Telmányi and Holger Gilbert-Jespersen); in blue
Telmányi), and in red crayon in unknown hand. crayon (CN); in mauve crayon (Holger Gilbert-Jespersen and
In the score most of the second movement is notated in unknown hand).
short score form. On p. 38 the second movement bb. 114-128
is given with full orchestration, and before the new ending D Parts, printing manuscript.
pp. 1-8 there are five music pages (unnumbered p. 12 and DK-Kk, C II, 10.
p. 1 + unnumbered page and p. 2 + unnumbered page) with Earliest dating in cor.2: “21. oktober 26”.
full instrumentation of the second movement bb. 39-81. Donated to the Royal Library by Irmelin Eggert Møller in 1958.
34.5x 27 cm. The set comprises the solo part and 28 parts
1 “Flute concerto (introduction to II)”. (strings: vl.1 Nos. 1-5, vl.2 Nos. 1-4, va. Nos. 1-3, vc. Nos. 1-3,
2 “New ending of the flute concert”.

Carl Nielsen Udgaven CN 00041 66

CN Fløjtekoncerthæfte tekst 02 66 12/01/05, 21:33

 cb. Nos. 1-3) written in ink in 4 different hands. The set of
parts is in black covers.
Paper type:
Solo part: W.H. Nr. 3. F.12 (12 staves).
Orchestral parts: 12 staves; vl.1 No. 5, vl.2, No. 4, va. No. 3,
vc. No. 3, cb. (numbered I, 2, 3): 12 staves in a different type
from the other parts. In vc. Nos. 1-2, cb. Nos. 1-2, ob., cl., fg.,
cor., a folio of music paper of the type ‘K.U.V. Beethoven
Papier Nr. 31. (12 Linien)’ has been glued on.
The parts show signs of wear.
The parts have additions in pencil, blue crayon, blue pen,
black pen (CN); in pencil, black pen, and several blue pens
(Emil Telmányi).
The set of parts includes one solo part and parts from the
first performance plus more recent parts (vl.1 no. 5, vl.2
no. 4, va. no. 3, vc. no. 3, cb. (numbered I, 2 and 3) stamped
with “Statsradiofoniens Nodearkiv / Radiohuset, Køben-
havn”. In fg.2 the last 19 bars of the first movement are
pasted over with music paper with the same notes
enharmonically expressed.
Musicians’ datings, 1926-1953.
In vl.1 Nos. 1-4, vl.2 Nos. 1-3, va. Nos. 1-2, vc. Nos. 1-2, cb.
Nos. 1-2, wind parts and timpani, the new ending for the
second movement has been added by Georg Wiegelmann.
The solo part has the reworked ending. Wind parts,
timpani and vl.1 no. 1, vl.2 no. 2, va. no. 1, vc. no. 1, cb. no.
2 (old numbering) were used as the printing manuscript.
E Score, autograph, sketch.
DK-Kk, CNS 69d.
Dating: end-dated on sixth page: “Firenze 1 -10 -26.”
Donated to the Royal Library by Irmelin Eggert Møller in
1958.
16.7x23.7 cm, booklet with 40 pages, 5 of which are written
in pencil, unnumbered; sewn in grey paper covers.
Paper type: 6 staves.
On cover: “ALBUM MUSICA”.
Includes a sketch on the first music page (1 stave, 9 bars, F
major or D minor, 2/4), a sketch on 3rd-6th music pages,
almost a full draft of the last 20 bars of the first ending of
the second movement.
F Cover of score, partly autograph.
DK-Kk, C II, 10.
Carl Nielsen Udgaven CN 00041
CN Fløjtekoncerthæfte tekst 02 67
Title page: “Carl Nielsen / Koncert for Fløjte og Orkester. /
Partitur / Verlag. / W. Hansen, / Kopenhagen.”
34.7x25.5 cm, 1 folio of music paper, 12 staves.
The cover shows signs of wear.
Of the text on the cover, “Carl Nielsen” and “Partitur” are
written in ink, the rest is in pencil. “Partitur” is in autograph.
G Score, transcript.
DK-Kk, C II, 10.
Donated to the Royal Library by Irmelin Eggert Møller in 1958.
36x27 cm, 3 gatherings with a total of 19 bifolios in a grey
paper cover, with 74 pages written in ink. Pagination: 1-74,
music pages at beginning and end unnumbered.
Paper type: 20 staves.
Title on cover: “Partitur. / Carl Nielsen : / Koncert for fløjte
og orkester. / Tilhører: Fru Eggert Møller.”3
Title on first music page: “Concert for Fløjte / af / Carl
Nielsen.” Added in pencil: “Verlag / W. Hansen / Kopen-
hagen”. End of second movement: “Fine.”
Additions in red pen, pencil, mauve crayon. The score has
the reworked ending.
The earliest source for the flute concerto is the sketchbook,
Source E, containing parts of the original ending of the second
movement as well as an unidentified sketch. The pencil score,
Source B, has a very sketch-like appearance, especially in the
second movement. Most bars of the second movement are only
notated in short score, and articulation and dynamics are only
incompletely indicated.
The ink fair copy, Source A, was drawn up by Carl
Nielsen and Emil Telmányi. During the fair-copying Carl Nielsen
developed the articulation and dynamics. Similarly, Emil
Telmányi has added articulation, dynamics and slurs in almost
every bar of the part he fair-copied.
In the fair copy, however, there are two other types
of additions by Emil Telmányi. In the first place there are
additions that cannot be attributed to the fair-copying process,
since they are not noted with the same pen as the music. The
other type is additions that were made in connection with the
printing of the score after Carl Nielsen’s death, and as is evident
from the preface to the printed score they have been put in
brackets both in print and in the ink fair copy. There are
moreover additions that cannot be attributed either to Carl
Nielsen or to Emil Telmányi.
3 “Score / Carl Nielsen / Concerto for Flute and Orchestra /
belonging to Mrs. Eggert Møller.”
67
12/01/05, 21:33
 The ink fair copy has two endings for the concerto. Rehearsal numbers in the second movement have
After two performances Carl Nielsen drew up a new ending been replaced by rehearsal letters in accordance with the first
which has been used ever since. This ending was fair-copied by movement. Carl Nielsen’s incomplete rehearsal numbers from
Georg Wiegelmann. In the pencil draft only Carl Nielsen’s new the pencil draft have been included as variants.
ending appears.
The orchestral parts from the first performance, Handwritings in source A and source C
Source D, were fair-copied from the ink fair copy with the new Fair copy (source A) Flute part (source C )
ending added by Georg Wiegelmann.
1st movement
The solo part, Source C, was probably fair-copied
from the draft by Carl Nielsen and Emil Telmányi respectively.
b. 36
Pressure of time meant that some of the part was sent to the
flautist before the concerto had been finished. So the fair-
copied solo part would not have been available when the fair b. 95
copy of the score was made. b. 137
The main source for the revision of the flute con- b. 166
certo is the ink fair copy, Source A. In the music, additions
made by Emil Telmányi in connection with the fair-copying
have been included. Additions in connection with printing 2nd movement
after the death of Carl Nielsen have been tacitly removed.
Additions by Emil Telmányi which cannot be ascribed to the
fair-copying and therefore cannot be dated to Carl Nielsen’s
b. 112
lifetime have also been tacitly removed. An exception to this is
additions that are in Source B and which he forgot during the
b. 150
first fair-copying and therefore inserted later. These have been
b. 167
included in the music and indicated as internal variants in A.
As will be evident from the description of sources, in Source B
Carl Nielsen indicated more specific orchestral instrumenta-
tion in two places (second movement), bb. 39-81 and bb. 114-
128. The solo part is not indicated in these places. In the
editorial work it is the most detailed instrumentation that has Carl Nielsen
Emil Telmányi
been consulted. In the second movement Carl Nielsen, after
Georg Wiegelmann
notating all bar numbers in the movement, has interpolated a
bar after bar 29. Thus all bar numbers after this in Source B
must be increased by 1.
In the passages where the solo part, Source C, was
fair-copied by Carl Nielsen and the score by Emil Telmányi, Carl
Nielsen’s fair copy of the flute part has been given highest
priority. To maintain the use of one main source, they have in
practice been noted as revisions in accordance with the solo
part. In one case the “Fassung letzter Hand” is not used. This is
in the bars where Carl Nielsen has fair-copied both score and
solo part. Since the flute solo part seems to be given in more
detail than in the score, it has been given high priority despite
the fact that it was fair-copied before the score.

Carl Nielsen Udgaven CN 00041 68

CN Fløjtekoncerthæfte tekst 02 68 12/01/05, 21:33

 E D I T O R I A L E M E N D A T I O N S
A: note 1: ( * ) added in pencil (Emil
Bar Part Comment
A N D A L T E R N A T I V E 14 va.
Telmányi?); B: notes 2-12: col Basso
R E A D I N G S 14-15 fl.solo B: b.15 note 5: end of slur
15 fl.solo C: note 6: stacc. is missing
15 vl.2 va. notes 13-16: stacc. added by analogy with
C O N C E R T O F O R F L U T E vl.1, vc., cb.
A N D O R C H E S T R A 16 ob. notes 5-7: stacc. added by analogy with
cor.; A: notes 4-6: stacc. added in pencil
First Movement (Emil Telmányi?)
16 cl. cor. A: note 4: stacc. added in pencil (Emil

(
Bar Part Comment Telmányi?)

+
1 B, C: Allegro moderato or tempo giusto 16 vl.1,2 va. B: note 2:
! = 100 a 112 emended to ! = 100-112
+ (
1 16 vl.2 va. B: chord 1:
1 ob. cl. note 1: stacc. added by analogy with 16 vc. cb. B: note 2: , note 3:
vl.1,2, va. 17 ob. note 6: ten. emended to stacc. by analogy
1 timp. B: rest 2 is missing with cor.
1 vl.1,2 va. B: note 1: " changed to # in black ink 17 cl. notes 1-2: stacc. added by analogy with
1 vl.2 B: notes 2-3: tie added in blue ink (CN?) ob.; notes 5-7: stacc. added by analogy
1-3 ob. cl. B: blank with cor.; A: notes 1-2: stacc. added in
$
1-3 fg.1 B: b.1 to b.3 note 1: E pencil (Emil Telmányi?), notes 4-7: stacc.

+
1-4 vl.2 B: b.1 notes 1-3 notated 8va. basso, b.1 added in pencil (Emil Telmányi?); B: note
note 2 to b.4: col I mo 8v b. 1:
2-3 ob. b.2 note 1 to b.3 note 2: segue emended to 17 fg. B: note 3:
marc. 17 cor. A: note 4: stacc. added in pencil (Emil
2-3 cl. b.2 note 1 to b.3 note 2: marc. added by Telmányi?)
$ $
analogy with b.1 notes 4-10 and by 17 vl.1 B: chord 1 to note 1: " (a '' ) " (d '' ) added in
analogy with ob. blue ink

((
2-3 vl.1,2 va. b.2 note 1 to b.3 note 5: segue emended to 17 vl.2 va. vc. cb. B: illegible notes added in blue ink
marc. 17-18 fg. b.16 note 3 to b.17 note 1: dim. added
3 cor. B: note 1: ! (a' ), notes 2-5: blank by analogy with trb.b.
3-4 trb.b. B: blank 17-18 trb.b. B: b.17 notes 1-2: slur, b.17 note 1 to b.18
$
B: b.3 notes 1-2: " (E ) " (g) % ! (g) added in
((
3-5 fg. note 1: slur
: brackets omitted; B: !
(
black ink, b.3 note 4 to b.5: blank 18 trb.b.
4-5 fg. b.4 note 1 to b.5 note 4: marc. added by 18 va. added by analogy with vl.1,2

b.18; B: notes 1-2: $ added in blue ink

analogy with b.3 notes 5-11 19 vc. cb. notes 1-3: stacc. added by analogy with
4-5 vc. cb. b.4 note 1 to b.5 note 4: segue emended to
marc. 20 fl.solo note 5: marc. added as in C; A: note 5:
5 fl.solo B: note 1: " (marc.) added in red crayon (Emil
5 va. note 3: stacc. omitted by analogy with vl.1,2 Telmányi?), notes 9-16: added
6 fl.solo C: notes 6-7: ten., slur is missing in pencil (CN?); C: notes 1-4: stacc. is
7 fl.solo B: notes 5-7: slur added in blue ink (CN?); missing
$ *
C: notes 4-5: ten., note 6: beginning of slur 21 fl.solo B (fl.solo, va.): note 1: g '' changed to g '' ; C:
$

&z
instead of note 5 note 1: g '', notes 1-7: slur added in pencil

& ((
7-8 vl.2 B: b.7 note 1 to b.8 note 1: as vl.1 21 vl.1,2 vc. cb. B: note 1:
8 vl.1 vc. cb. B: note 1: 22 fg.1 B: note 1:
* ,
9 fl.solo C: notes 3-4: dim. 23 fl.solo note 15: e '' emended to e '' as in B, C
10 fl.solo A: notes 13-15: added in pencil 23-24 fl.solo slur b.23 notes 12-16 and slur b.24 notes 1-

' ( ((
(Emil Telmányi?) 3 emended to one slur as in C
11 cor. B: ; B : " 24 ob. cl. fg. A: note 1: changed to in pencil

'((
11 fl.solo C: notes 1-14: slur (Emil Telmányi?)

((
11 va. B: 24 fl.solo B, C: notes 2-3 are missing
,

((((
12 cl.1 note 3: added as in B; note 3: marc. 24 vc. cb. note 6: f emended to f by analogy with
added as in B; A: notes added in black ink vl.1,2, va.; B:
(Emil Telmányi?), after erroneous placing 25 va. notes 15-16: stacc. added by analogy with

(((
in fg. by CN notes 3-14

'
12 fl.solo C: notes 1-2: stacc:, note 7: marc. is missing 25 vc. cb. notes 3-7: sempre added by analogy
12 vc. cb. B: note 1: with vl.1,2, va.

note 7; B: note 2: $ added in blue (?) ink

13 fl.solo note 1: marc. added by analogy with b.12 25-26 fl.solo A: b.25 note 1 to b.26 note 1: slur added in

A: note 3: $ added in pencil (Emil Telmányi?)

pencil
13 vl.1 25-27 fl.solo C: b.25 notes 1-2: slur, b.26 note 1:
14 cl.2 note 1: stacc. added by analogy with cl.1 beginning of slur open (change of
note 2 system), b.26 notes 2-4, 5-7: slur, b.26 note
14 fl.solo note 3: marc. added as in B, C; A: note 3: 8 to b.27 note 3: slur
,

)
(marc.) added in blue ink (Emil Telmányi) 26 vc. cb. B: note 9: f

((((
14 fl.solo note 3: added as in C 27 ob.1 fg.1 A: note 1: Imo added in black ink (Emil
mo
14 vl.1 vc. cb. B: note 1: Telmányi); B: (fg.1): I is missing

Carl Nielsen Udgaven CN 00041 69

CN Fløjtekoncerthæfte tekst 02 69 12/01/05, 21:33

 Bar
27
Part
fl.solo
Comment
-
A: after note 3: ( ) added in blue ink
Bar
45-48
Part
fl.solo
Comment
B: b.45 note 1 to b.48 note 3: slur,
(Emil Telmányi), cannot be dated more beginning of slur open (change of system)

) &
specifically 46 fl.solo notes 11-12: dim added as in B; C: notes 7-9:
27 vl.1,2 va. A: note 6: changed to (CN) dim.
27 va. vc. cb. notes 1-4: stacc. added by analogy with 46-47 vl.1 B: b.46 note 3 to b.47 note 1: slur
vl.1,2 46-47 vc. A: b.46 notes 3-4: beginning of slur
29-31 va. B: notes and slurs added in blue ink emphasized in blue ink (Emil Telmányi?)

(
30 va. vc. cb. notes 3-4: dim. added in accordance with 47 vc. cb. B: dim.

((
D (vc.); D (vc. Nos.1-2): notes 3-4: dim 48 fl.solo note 1: added as in B, C

((
added in black ink (CN) 48 vl.1,2 va. B: note 1:
30 vc. cb. notes 1-2: tie added as in B and by analogy 48 vc. cb. B: note 2:

(
with va. 49 rehearsal letter Bb in circle omitted
31 cl. fg. cor. B: 49-50 vl.1,2 va. b.49 note 1, 4, b.50 note 1: marc. added by
31 fl.solo C: note 5: g' analogy with b.48 note 1; A: marc. added

(
31-33 cor. B: notes b.33 (cor.1) and notes bb.32-33 in red crayon (Emil Telmányi?)
(cor.2) emphasized in black ink 50 cl. B: note 1:
31-34 fl.solo C: b.31 note 1 to b.34 note 1: slur 50-52 cl.1 b.50 note 1: beginning of slur emended
33 B, C: poco rall from note 2 by analogy with cl.2; b.52
33 fg. B: . / (error in B) note 1: end of slur emended from b.51

B: note 2: $ added in blue ink, end of slur

33 vl.1 A: rall: added in pencil (CN) note 6 by analogy with ob. fg. (bb.35-37)
34 A: dolce added in blue ink (Emil Telmányi); 51 vl.2

( )
B: Tempo I note 2 instead of note 3

(
34 fg. note 2: added as in B; B: note 2: 51-52 fl.solo C: b.51 note 3 to b.52 note 1:
changed to in pencil (CN); B: notes 2-4: 51-52 vl.1 B: beginning of slur b.51 note 4 instead of

B: note 3: $ added in blue ink

marc. b.51 note 2
34 vl.1,2 A: notes 1-3: slur crossed out in pencil (CN) 53 fg.1

) ( +
34-35 ob. B: b.34 note 1 to b.35 note 1: marc., b.34 53-54 fl.solo C: b.53 note 2 to b.54 note 5: slur
note 1: changed to in pencil (CN) 54 fl.solo notes 6, 8, 10: added as in B, C; B: notes
34-35 vl.1 B: b.34 note 1 to b.35 note 1: marc. and ten. 2-5: end of slur note 4 instead of note 5
35 ob. note 2: beginning of slur emended from 54 vc. cb. B: . corrected to . / in blue ink
note 3 as in B and by analogy with fg., 55 fl.solo C: beginning of slur open (change of
vl.1,2; B: notes 9-10 are missing system), note 10: stacc.
35 ob.1 B: note 8: e'' 55 vl.2 B : beginning of slur note 1 instead of
35 vl.1 note 10: end of slur emended from note 9 note 2
as in B and by analogy with vl.2 55 cb. B: note 4: . corrected to . / in blue ink
35 va. arco omitted 56 cl.1 B: b.56 notes 1-7, b.56 note 8 to b.57 note
35-36 cor. B: b.35: end of slur open (change of 6: slur added in blue ink

&
system), b.36 notes 1-2: slur 56-58 fl.solo C: b.56 note 1 to b.58 note 1: slur
36 ob.1 B: note 2: d'', note 6: e'' 57 vl.1 : brackets omitted
36 cor. note 2: added by analogy with 58 fg.1 B: notes 2, 5: e
,
other parts 58 fl.solo B: note 13: f ''
36-37 va. B: end of slur b.36 note 5 instead of b.37 58-59 fl.solo C: b.58 note 2 to b.59 note 12: slur

( (((
note 1 59 vl.1 note 1: arco added as in B ; B: note 7:

(((
37 fg.1 note 2: added as in B

((
37-38 fl.solo B: b.37 note 1 to b.38 note 1: marc. 61 vl.1 B: note 1: marc., note 13:
39-41 fg.1 B: b.39: beginning of slur note 3 instead 62 cl.1 A: notes 3-4: added in
of note 5, note 4: "
((
pencil (Emil Telmányi)
40 fl.solo note 4: stacc. added as in B, C 63 cl.1 B: note 2:
41 fl.solo note 2: stacc. added as in B, C 63 fl.solo C: note 19: marc.
41-42 cl.1 b.42 note 11: end of slur added as in B; A: 64-67 cl.1 A: b.64 note 1 to b.67 note 9: slur changed
b.42 note 11: end of slur open (page turn) to slur b.64 note 1 to b.66 note 1 and slur

ff
43 vl.2 va. vc. vb. note 1: trem. added b.66 note 2 to b.67 note 9 in black ink
44 timp. B: (CN); B: b.64: unfinished slur, b.66 note 1:

ffz +
44 fl.solo B: notes 2-10: slur beginning of slur open (change of

B: note 18: * added in blue ink

44 vl.1 D (vl.1 No.3): note 1: changed to in system), b.66 note 2 to b.67 note 8: slur

ff
pencil (CN) 66 cl.1

ff
44 vl.1,2 va. B: chord 1: 66 vl.1 B: notes 5-7: ten. and stacc.
44 vc. cb. B: note 1: 66 vl.2 B: notes 1-3: ten. and stacc.

note 11: * added as in B, C; B: note 11: *

44-48 fl.solo C: b.44 note 2 to b.48 note 3: slur 67 vl.1 A: rest 1 added in blue ink; B: notes 3-5:
45 fl.solo ten.
added in blue ink 67 vl.2
5
B: notes 1-3: ten.
A, B: 4 added in blue ink
A: note 6: * added in black ink; B:
45 fl.solo note 12: d''' emended to c''' as in C and 68
correction in A; A: d''' corrected to c''' in 68 cl.1

B: note 1: * added in blue ink, notes 2-3: note 14: * added in blue ink, note 15: $
margin beginning of slur note 3 instead of note 2,
45 vl.1 va. vc. cb.
stacc. added in blue ink

Carl Nielsen Udgaven CN 00041 70

CN Fløjtekoncerthæfte tekst 02 70 12/01/05, 21:33

 Bar
68
Part
fl.solo
Comment
-
A: after note 9: added in blue ink (Emil
Bar
87-88
Part
fl.solo
Comment
C: notated an octave down
Telmányi?); B: note 9: unfinished slur 88 fl.solo C: notes 3-5: stacc. is missing, notes 6-7:
68 vl.1 B: rest 1: % changed to 2 1 in4 blue ink, only slur added in pencil
three crotchets (originally 4 ) 88 va. end of slur emended from note 2 by
B: rest 1: % changed to 2
68 vl.2
4 1 , only three analogy with vl.1,2, vc., cb.
crotchets (originally 4 ) 88 cb. B: note 2: a
69 A: 3 added in black ink; B: 3 added in blue 89 fl.solo B: note 1: ten.
ink 91 trb.b. B: notes 2-3: dim. added in blue ink
69 fl.solo B: beginning of slur note 2 instead of 91 fl.solo B: notes 17-18: stacc. added in blue ink

4
note 1 92 fl.solo note 12: stacc. added by analogy with note
70 vl.1,2 B: note 1: 4, 7-11; B: note 2: ten.
70 vl.1 B: note 1: ten. 93 trb.b. note 4: marc. added as in B

& ) &
70 vl.2 B: notes 1-3: ten. 94 trb.b. note 6: marc. added as in B

B: note 9: $ added in blue ink, rest 4 added

70-71 vl.1,2 B: b.70 note 3 to b.71 note 1: tie 94 timp. A: changed to (CN); B:
72-73 vl.1 va. vc. cb. B: b.72 fourth crotchet to b.73 note 1: 94 fl.solo

&
in blue ink

ff
73 str. B: note 1: 94 vc. cb. A: stacc. added in pencil and blue ink
75 trb.b. B: poco (Emil Telmányi?)

' (
75 va. marc. added as in B 95 timp. A: tr. and wavy line added (Emil Telmányi);
75 vc. cb. B: note 4: e B: . . ,
76 cb. B: seque 95-96 fl.solo b.95 notes 9, 11, 13, 15, b.96 notes 1, 3, 5,

ff
77 vl.1,2 va. B: chord 1: cresc. 7: segue emended to marc. as in B, C
$

+
77 vc. cb. B: note 1: cresc., note 8: g 96 timp. B: note 1:
78 va. vc. B: chord 1: accel 96 vl.1 D (vl.1 Nos.1, 3): added in black ink

+
79 vl.1 B: note 2: marc., note 3: trem (CN)

'
79 vl.1,2 va. B: trem. abbreviation added in blue ink 96 vl.1,2 va. B: note 1: , molto
79-80 trb.b. B: blank 96 vc. cb. B: note 1: , molto
80 fg. note 5: marc. added by analogy with notes 96-97 fl.solo B: b.97: end of slur added in blue ink; C:
1-4; A: note 5: marc. added in blue ink b.96 note 19: end of slur open (change of

'
(Emil Telmányi) system)
80 fg. vc. cb. B: after note 5: " (A) 97 ob. B: note 1:
80 cor. notes 1-5: marc. added by analogy with 97 vl.1 note 7: marc. added by analogy with va.;
bb.74-79; A: notes 1-5: marc. added in blue A: note 7: marc. added in blue ink (Emil

ff'z
ink (Emil Telmányi) Telmányi)

ffz
80 vl.1,2 va. B: chord 3: 98 ob. notes 1, 5, 7: marc. added by analogy with
80 vl.2 D (vl.2 Nos.2-3): chord 3: added in vl.1, va.; A: notes 1, 5: marc. added in
black ink (CN?) pencil (Emil Telmányi?)

ff'z
80 vc. cb. note 5: marc. added by analogy with notes 98 vl.1 va. note 7: marc. added as in B (vl.1)
1-4; B: note 5: 99, 100 cl.2 fg.2 notes 5-6, 13-14: slur added by analogy
81-82 trb.b. b.81 note 1 to b.82 note 1: slur added as with cl.1, fg.1
in B 100 ob. vl.1,2
82 trb.b. note 2: marc. added as in B va. vc. cb. notes 1-8: segue emended to marc.

A: note 10: * added in pencil

83 fl.solo notes 3, 5, 7, 9, 11, 13: marc. added as in B; 100 fg. B: notes 15-16: marc.

ff
A: notes 3, 5: (marc.) added in blue ink 100 vl.2

ff(
(Emil Telmányi), notes 6-9: (seque) added in 101 ob. fg. A, D: note 1: added in black ink (Emil

ff '
blue ink (Emil Telmányi); B: note 1: (?) Telmányi)

(
changed to in pencil (CN) 101 trb.b. note 2: added as in B

B (tr.): * added in pencil

84 trb.b. B: note 1: 103 vl.1 8va omitted and notes moved in accor-

+ A: note 3: $ added in blue ink

84 va. vc. cb. dance with comment in A
85 trb.b. B: note 3: 104 cl.
85 fl.solo A: note 11: ! and slurs added in red crayon 104 cor. B: note 2: f', note 4: g'
and blue ink by Emil Telmányi as in B; B: 104 vl.2 va. vc. cb. notes 9, 13: marc. added by analogy with
notes 1-6: marc. changed to stacc. (CN), note 1 (vl.1,2); A: notes 9, 13: (marc.)
note 7: stacc.; B, C: note 8: marc. added in pencil (Emil Telmányi)
86 fl.solo B: notes 2-10: slur added in blue ink; C: 104 va. vc. cb. note 1: marc. added by analogy with
notes 2-10: slur vl.1,2
86 vl.1,2 vc. cb. end of slur emended from note 2 by 105 str. note 5: marc. added by analogy with b.104
analogy with va. notes 1, 9, 13
86 vl.1,2 va. cb. B: note 2: g 105 va. vc. cb. notes 1-4: stacc. added by analogy with
86-87 fl.solo b.86 note 13, b.87 notes 1, 3: marc. added vl.1,2
,
as in B; b.87 notes 5, 7: marc. added by 106 fg.1 B: notes 3-4: g - f
analogy with notes 1, 3; A: b.86 note 13: 106 trb.b. note 2 dim.: brackets omitted
(marc.) added in blue ink (Emil Telmányi); 106 vl.1 B: note 9: marc.
b.86 note 14 to b.87 note 2: (seque) added 106 va. B: notes 13-16 added in black ink
in blue ink (Emil Telmányi) 107-109 cl. B: b.107: slur is missing, b.108: beginning
87 fl.solo C: notes 10-11: slur is missing of slur open (page turn)

Carl Nielsen Udgaven CN 00041 71

CN Fløjtekoncerthæfte tekst 02 71 12/01/05, 21:33

 )
Bar Part Comment Bar Part Comment
107-109 fg. B: b.107 notes 1-4: slur, bb.108-109: 122 va. note 1: added as in B
beginning of slur open (page turn) 124 ob. A: notes 1-2: dolcissimo added in red

A: note 2: * added in pencil

108 timp. dim. added as in B crayon, erased
108 fl.solo A: Solo added in pencil 124 fg.
108 vl.1 B: notes 1-3, 4-5: slur 125 fl.solo C: note 14: marc. is missing

(
109 ob.1 fg. cor. 126 cl.1 A: Imo added in blue ink (Emil Telmányi?);

(( ( (
timp. vl.1 vc. cb. B: poco rall B: note 1:
109 cor. added as in B; A: added in black ink 126 cor.1 B: note 1: , note 3: head of note added in

B: note 2: $ added in black ink

(Emil Telmányi?) black ink
109 fl.solo dim. added as in C; C: notes 1-2: poco rall: 127 vl.1
109 vl.1 note 3: end of slur emended from note 2 127-130 B: Irregularity in B, since bars were
by analogy with vl.2 and as in B; B: note 1: originally notated in the order b.128,

(
dim b.129, b.127, b.130. There was also a page
109 vl.2 B: note 2: turn between b.126 og b.128. The
109 va. vc. cb. notes 11-12: stacc. added by analogy with reordering is indicated in B by arrows.
$
notes 3-4, 7-8 128 fl.solo A: notes 14-15: c''' - b'' changed to d ''' -c''' in
109-114 fl.solo B: b.109 note 3 to b.111 note 4: unfinished pencil (Emil Telmányi?)
slur, b.110 note 2 to b.111 note 1: slur, 128-133 cl.1 b.128: open beginning of slur emended to
b.112 note 2 to b.113 note 1: slur, b.113 beginning of slur; A: b.128: beginning of
note 2 to b.114 note 1: slur slur open (page turn and reordering of
109-121 fl.solo C: b.109 notes 1-6, b.110 note 1 to b.121 bars in A); B: b.128: beginning of slur

(
note 11: slur open, b.128 note 12: end of slur

((
110 cl. fg. timp. str. B: note 1: 129 fl.solo B: note 10: g'', notes 9-12: slur with end of
110 timp. added by analogy with vl.1,2, vc., cb. slur open, stacc. is missing; C: note 10: g''
$
110 fl.solo
(
note 1: espressivo added as in B, C; note 1:
added as in C 130 fl.solo
-
changed to a ''
A: added in blue ink (Emil Telmányi?),
110-114 cl.1 b.112 note 1 to b.114: end of slur added as cannot be dated; B: notes 2-7: sextuplet; C:

B: note 7: $ added in blue ink (CN?)

in B (page turn in A) notes 1-9: slur added in pencil
111 va. note 4, 8: stacc. added as in B; A: notes 4, 8: 131 cl.1
stacc. added in pencil 131 fl.solo C: notes 8-9: dim. instead of b.132 notes 2-3
112 va. notes 4, 8: stacc. added by analogy with 131-133 fl.solo B: b.131 note 8 to b.133 note 1: slur is

(
b.111; A: notes 4, 8: stacc. added in pencil missing, b.132 note 1: beginning of slur open

(( ((
114 cor.2 B: note 1: 132 cl.1 B: notes 3-6: dim.

(
114 vl.1 notes 1-5: end of slur emended from note 132 cl.2 note 1: added as in B; A: note 1:

(
4 as in B; note 1: added as in B; A: note added in blue ink (Emil Telmányi); B: note
1: added in pencil (Emil Telmányi?) 3: d'
114 vc. cb. B: poco espress: 132 fl.solo C: rall - - -

notes 7, 37, 38, 40, 44, 46, 47, 49, 50: $

115-116 va. tie added as in B 132-133 cl.2 B: b.132 note 3 to b.133 note 1: slur

added; note 12: * added; notes 20, 21, 27,

117 vl.2 B: end of slur open (page turn) 133 fl.solo

29: , added; note 42: 6 added; A: note 55: *

117-119 fl.solo B : b.117 note 2 to b.117 note 16: unfinished
slur, b.118 note 1 to b.119 note 1: slur
,
* ? erased; B: note 48, 55: b$$' ; C: note 48: b$$'
118 cl.1 B: c '' is missing (page turn) added in black ink and pencil, in margin:

(((
118 fl.solo A: changed from notes 3-5 to
third crotchet in pencil (Emil Telmányi); 133 fl.solo A: note 31: ( ) added in pencil (CN?)
B: notes 1-5: and blue ink (Emil Telmányi)
118 vl.1 notes 3-6: poco marcato added as in B 133 fl.solo B: notes 18-30: slur, note 31: lunga, notes
118-119 vl.1 A: changed from b.118 notes 7-8 49-54: rall - - -, note 54: lunga (?); C: notes
to b.119 notes 1-2 in pencil (Emil Telmányi); 17-27: end of slur open (change of system),
B: b.118 notes 4-8: , notes 48-50: rall:, note 55: lung
b.118 note 5 to b.119 note 2: end of slur 134 a tempo added as a consequence of poco
b.118 note 8 rall. (b.132)
119 fl.solo A: changed from notes 4-5 to 134 trb.b. timp. stacc. added by analogy with cor.
third crotchet in pencil (Emil Telmányi) 134 va. vc. cb. note 1: arco added
119-120 vl.1 A: changed from b.119 notes 4-5 135 vl.1,2 note 1: arco added
to b.120 notes 1-2 in pencil (Emil Telmányi) 135 va. notes 5, 8: stacc. added by analogy with
119-121 vl.1 B: b.119 notes 3-6: slur, b.120: no slur, vc., cb.
b.121: beginning of slur open (page turn 136 B: 6 added in a ring in pencil (CN)

B: note 4: , added in blue ink

b.120-b.121) 136 woodw. A: notated by Emil Telmányi ?
120 vc. cb. 136 ob. notes 1-4: end of slur emended from note
120-121 fl.solo b.120 note 2 to b.121 note 11: end of slur 3 by analogy with fg.2, cor.2; A: notes 1-3:
emended from note 10 as in B slur added by Emil Telmányi during fair-
121 B: 5 added in a ring in pencil (CN) copying
5 ,

(
121 fl.solo note 1: f '' emended to f '' as in C 136 cl.2 notes 1-4: slur added by analogy with fg.2,
122 fl.solo note 1: added as in C cor.2

note 3 (tr.): , added by analogy with cl.

122 vl.1 note 1: senza sord. added as in B; A: note 1: 136 fg.1 notes 1-4: slur added by analogy with fg.2
sensa sord. added in pencil (Emil Telmányi) 136 cor.

Carl Nielsen Udgaven CN 00041 72

CN Fløjtekoncerthæfte tekst 02 72 12/01/05, 21:33

 Bar Part Comment Bar Part Comment
136 cor.1 notes 1-4: slur added as in B and by p.154 system 1 notes 1-6: slurs added in
analogy with cor.2; A: notes 3-4: tie added blue ink (Emil Telmányi?). This addition
by Emil Telmányi during fair-copying cannot be accurately dated; B: p.153 note

A: note 15: * added in black ink; B: note

136 cor.2 notes 3-4: tie added by analogy with cor.1 23-28: slur
136 va. 146 fl.solo p.154 system 1 note 7: ten. added as in C;
A: p.154 system 1 note 7: 8 in brackets
$

A: note 5: * added in pencil

15: a '

A: note 15: * added in black ink; B: note ((

136 va. vc. cb. added in pencil (CN/Emil Telmányi?),
136 vc. cb. p.154 system 1 note 8: added in
$

(
15: a pencil (CN)

' ( +
136 cl.1 b.136 note 1 to b.136 note 4: end of slur 146 fl.solo p.154 system 1 notes 32-38: sub. .
emended from b.137 note 1 by analogy emended to
with cl.2, fg.; A: slur added by Emil as in C; A: p.154 system 1 note 32: sub.
Telmányi during fair-copying added by Emil Telmányi during fair-

(
136-137 fg.2 b.136 note 5 to b.137 note 1: slur added as copying, crossed out in pencil (CN); B:

(
in B p.154 system 1 note 32: changed to sub

A: note 5: * added in blue ink p.154 system 1 note 38: * added

137 ob.2 B: note 3: c'' in blue ink (Emil Telmányi?)

'
137 va. vc. cb. 146 fl.solo
138 trb.b. B: note 1: 146 fl.solo A: p.154 system 2 rest 1: 8 added by Emil
138 va. B: notes 5-6: slur Telmányi during fair-copying; C: p.154
138 vc. cb. A: notes 5-6: slur crossed out in black ink system 2 rest 1: 8 is missing
138-140 cor.2 A: b.138 note 2 to b.140 note 3: marc. added 146 fl.solo p.154 system 2 notes 1-19: slur omitted as
by Emil Telmányi during fair-copying in C; A: p.154 system 2 notes 1-19: slur
139 trb.b. A: note 3: marc. added by Emil Telmányi added in blue ink (Emil Telmányi?). The
during fair-copying addition cannot be accurately dated; A:
,
140 cl.2 B: note 6: b ' p.154 system 2 notes 1-6: end of slur
140 vl.2 note 5: marc. added as in B changed from p.154 system 2 note 7 in
140-141 ob.1 B: b.140 note 1 to b.141 note 1: slur blue ink (Emil Telmányi), p.154 system 2
141 trb.b. A: notes 1-2: stacc. added by Emil notes 8-12: end of slur changed from
Telmányi during fair-copying, note 3: p.154 system 2 note 13 in blue ink (Emil
marc. added by Emil Telmányi during Telmányi), p.154 system 2 notes 14-18: end
fair-copying of slur changed from p.154 system 2 note

B: note 13: * added in blue ink (Emil

142 fl.solo C: marc. is missing 19 in blue ink (Emil Telmányi). These
142 va. vc. cb. changes cannot be accurately dated
$
Telmányi?) 146 fl.solo p.154 system 2 note 6: d '' emended to d''

p.154 system 2 note 26: , added

143 va. vc. cb. stacc. added by analogy with b.142 notes as in B, C

+
7-14 146 fl.solo
144 cor. note 1: added as in B and by analogy 146 fl.solo p.154 system 2 note 38: marc. added as
with woodw. in C
,

+
144-145 fl.solo b.144 note 4: grace note (e''' ) added as in C; 146 fl.solo B: p.154 system 3 note 1: f ''

'
b.144 note 3 to b.145 note 1: tie emended 146 fl.solo p.154 system 3 notes 1, 6: added as in
to slur as in C C; p.154 system 3 note 28: added as in
A: rest 2: % added in red crayon and blue ink
p.154 system 3 notes 5, 10, 37, 39: * added
144 str. B, C
145 ob. stacc. added by analogy with b.144 and by 146 fl.solo
analogy with cl., fg. 146 fl.solo C: p.154 system 3 note 11: e''' changed to
$
145 cor.2 note 2: stacc. added by analogy with cor.1; e ''' in pencil
$ $$ ,
A: note 1: a ' changed to a ' in blue ink 146 fl.solo B: p.154 system 3 note 16: g '', p.154
$ ,
(Emil Telmányi), note 2: g' changed to g ' system 3 note 17: f ''
in blue ink (Emil Telmányi); B: note 2: g' 146 fl.solo p.154 system 3 note 18: marc. added as in
145 fl.solo note 1: ! emended to " 7 as in C; note 1: B, C; A: p.154 system 3 note 18: (marc.)

A: note 7: * added in blue ink (Emil

stacc. added as in C added in blue ink (Emil Telmányi)
145 vl.1 va. 146 fl.solo C: p.154 system 3 notes 20-21: poco rall,
Telmányi) p.154 system 3 notes 22-27: rall - - (change
146 fl.solo note 1: ! emended to . as in C of system)
$
146 fl.solo A: notes 2-3: the word Cadenza added by 146 fl.solo B: p.154 system 3 note 33: c ''
Emil Telmányi during fair-copying 146 fl.solo A: p.154 system 3 notes 34-35: slur added
$
146 fl.solo C: notes 11-12: d ''-c'' in pencil and blue ink after B (Emil
146 fl.solo notes 22, 28, 29, 32, 40, 42, 45, p.154 Telmányi)

25: $ added
system 1 notes 1, 7, p.154 system 2 note
146 fl.solo slur p.153 note 23 to p.154 system 1 note
7 and slurs p.153 notes 28-33, 34-39, 40-
45, p.154 system 1 notes 1-6 emended to
slurs p.153 notes 29-33, 35-39, 41-45,
p.154 system 1 notes 2-6 as in B, C; A:
p.153 note 23 to p.154 system 1 note 7,
p.153 notes 23-27, 28-33, 34-39, 40-45,
146 fl.solo B: p.154 system 3 notes 38-49: slur, end of
slur open (change of system), p.154 system
4 note 12: end of slur p.154 system 4 note
11 instead of p.154 system 4 note 12, p.154
system 4 notes 12-25: slur, end of slur open
146 fl.solo p.154 system 4 note 31: rallentando and
diminuendo emended from p.154 system 4
note 25 as in C; A: p.154 system 4 notes
25-40: dim. - - e rall - -; C: dim rall - -

Carl Nielsen Udgaven CN 00041 73

CN Fløjtekoncerthæfte tekst 02 73 12/01/05, 21:33

 Bar Part Comment Bar Part Comment

note 43: ( * ) added in pencil (Emil

146 fl.solo p.154 system 4 notes 31-52: slur emended symbol added in pencil (Emil Telmányi),
to slur p.154 system 4 notes 31-42 and slur
p.154 system 4 notes 43-52 as in C; B: Telmányi)

p.154 system 4 note 44: , added

p.154 system 4 notes 26-52: slur 157 fl.solo A: notes 29-46: dim.- - - e rall. - - ; C: notes

( ((
146 fl.solo 36-37: dim.

((
146 fl.solo B: p.154 system 4 note 52: 157 fl.solo A: note 48: added by Emil Telmányi
147 fl.solo A: notes 1-3: ten. and marc. added by Emil during fair-copying; C: note 48:
Telmányi during fair-copying; B: notes 1-3: notated at the bar line before b.158

( ((
marc.; C: notes 1-3: ten. 158 C: Tempo I ma molto tranq:
148 cl.1 1 added in accordance with D; A: ten. 158 timp. A: changed to in blue ink (Emil
added by Emil Telmányi during fair- Telmányi). The date of the addition cannot

((
copying; B: notes 1-4: marc. be accurately established
*
149 fl.solo B: note 17: b '' 158 fl.solo A: ( ) , letters noted in ink with brackets

((
149-150 fl.solo B: b.149 note 20: end of slur open (page in pencil. It is not possible to establish

(
turn), b.150 notes 1-9: slur; C: b.149 note accurately whether was written

( ((
20 to b.150 note 9: b.149 note 20: end of during fair-copying or whether is a
slur open (change of system), b.150 notes later addition; B: ; C: (?)

B: note 10: * added in blue ink (Emil

1-9: slur 158-160 fl.solo b.158 note 1 to b.160: slur emended from
150 fl.solo slur b.158 notes 1-2 and slur b.158 note 3
Telmányi?) to b.160 as in C
152 fl.solo notes 1, 3, 5, 7, 9, 11, 13, 15, 17, 19, 21, 23, 159 ob. A: (forse senza IIdo Oboe) added in blue ink
25, 27, 29: marc. added as in C (Emil Telmányi)*
152-153 fl.solo A: flute part crossed out, a new flute part 159 cor.1 B: note 8: b '
added in red crayon (Emil Telmányi); B: 159-160 ob. B: b.159 to b.160 note 1: tie added in blue
>œ ≈ >œ ≈ >œ >œ ≈ > œ >œ # œ ≈ œ n œ œ # œ ≈ œ b œ ≈ œ n œ ≈ œ œj ink (Emil Telmányi)
œ œ œ≈ œ œ ≈ œ≈ ˙
& ‰ ≈ 159-160 cl.2 fg.1 cor.2 b.159 note 2 to b.160 note 1: slur added by
analogy with cl.1, fg.2, cor.1
C: staff drawn in ink (CN) pasted in. The 159-160 timp. B: notes, tie and dynamics added in blue
music is identical to the music added in ink (Emil Telmányi)
red crayon in A 159-161 cl.1 B: b.159 note 2 to b.161 note 1: one slur
153 fl.solo notes 1, 3, 5, 7, 9, 13, 15: marc. added as 160 cor. B: notes and slur added in blue ink (Emil

with notes 1, 3, 5, 7, 9; note 18: * added. note 2: $ added as in B; D: note 1-2: tie
in C; note 11: marc. added by analogy Telmányi?)
160 timp.
$

been added as note 10; * forgotten at

In connection with rewriting e '' has 160-161 ob. fg. B: b.160 note 2 to b.161 note 1: b.160: slur
is missing, b.161 note 1: beginning of slur

A: note 28: * added in pencil and blue

note 18 open (page turn)

A: note 3: * added in pencil

154 cl.1 160-162 vl.1,2 B: b.160 note 2 to b.162 note 5: slur

A: note 1: * added in blue ink, notes 5, 8: *

ink; B: notes 2, 4, 6, 8, 10, 12, 14, 16, 30, 161 cl.1 fg.1 cor.1
32: 9 changed to : in blue ink (Emil 161 cl.2

A: note 5: * added in pencil

Telmányi), note 16 emphasized in blue added in pencil
$

A: notes 5, 8: * added in blue ink

ink, note 28: a 161 fg.2
155 cl.1 B: notes 2, 4: 9 changed to : in blue ink, 161 cor.2
note 5: note added in blue ink (Emil 161-162 va. vc. cb. B: b.161 note 2 to b.162 note 5: slur
Telmányi), notes 5-6: slur added in blue 161-163 cl.1 B: b.161 note 3 to b.163: slur
ink (Emil Telmányi) 161-163 cl.2 B: b.161 note 4 to b.163: slur
155 fl.solo B: notes 3-19: slur, end of slur open (change 161-163 cor. B: b.161 note 2 to b.163: slur

ff -
of system) 162-163 ob. added as in B (ob.1)
156 fg. note 1: added as in B 164 B: 8 added in a ring in pencil (CN)

(((
156 fl.solo A: note 1: ( ) added in blue ink (Emil 164 vl.2 A: notes 1-2: slur erased; B: note 4: e''
Telmányi); B: notes 25-32: end of slur open 164 va. vc. cb. B: note 1: ( )
(page turn) 165 vl.2 B: notes 1-2, 3-4: slur
157 cl. A: (a2.) added in blue ink on bar line (Emil 166 vl.2 B: end of slur open (change of system)
Telmányi) 168 fl.solo notes 9, 18: # # emended to " as in B
157 cl. fg. notes 2-11: end of slur emended from note 169 vl.1 B: notes 1-4: slur, end of slur open (change
10 as in B of system)

notes 25, 28, 29, 31, 32, 33, 39: , added

157 fl.solo B, C: note 2: the word Cadenza is missing 170 fl.solo notes 9-26: end of slur emended from
*
157 fl.solo note 25 as in B, C; note 13: c '' emended
$
157 fl.solo notes 28-44: ten. omitted by analogy with to c '' as in B, C
C; A: ten. added by Emil Telmányi during 170 vl.1,2 B: notes 1-2, 3-4: slur
fair-copying 171 timp. B: notes 1-2: marc.
157 fl.solo notes 28-48: slur added in accordance 171 fl.solo B: notes 3-12: ten.; C: note 2: # # , notes
with C and addition in A; A: notes 28-48: crossed out in pencil
slur added in pencil and red crayon; C: 171 vl.2 B: notes 1-2, 3-4: slur

A: note 28: ( , ) added in pencil (Emil

notes 29-48: slur 171 va. vc. cb. notes 1-2: stacc. added by analogy with

ff
157 fl.solo b.167
Telmányi), notes 30-32, 33-35: triplet 172 vl.1,2 sempre added as in B

Carl Nielsen Udgaven CN 00041 74

CN Fløjtekoncerthæfte tekst 02 74 12/01/05, 21:33

 ff
Bar Part Comment Bar Part Comment

ff
172 vc. cb. stacc. added by analogy with va.; 185-186 fl.solo b.185 note 3 to b.186 note 2:
added as in B; A: added in red crayon added as in B, C
and blue ink (Emil Telmányi) 185-186 fl.solo C: b.185 note 4: end of slur open (change

(
174 vl.1,2 B: notes 3-4: dim. of system)
175 vl.1,2 A: rest 2: la meta senza sordino added in 186 va. note 1: added as in B
blue ink (Emil Telmányi), probably in 186 vc.2 A: notes 1-3: slur erased, notes 2-3: slur
connection with printing added by Emil Telmányi during fair-

(( (((
175 vl.1 B: notes 1-2: molto dim. copying
175 vl.2 A: note 3: changed to by Emil 187-190 fl.solo C: b.188 note 7: end of slur open (change
Telmányi during fair-copying of system)
177-178 fl.solo b.177 note 9 to b.178 note 10: beginning of 187-190 cb. A: slur added by Emil Telmányi during
slur emended from note 11 as in B, C; A: fair-copying; B: b.188 notes 1-2: slur,
b.177 note 9 to b.178 note 10: slur changed beginning of slur open (page turn), b.189
to slur b.177 notes 9-10 and slur b.177 note note 1 to b.190 note 1: slur
11 to b.178 note 10 in pencil 188-189 vc. b.188: unis omitted and double stems
177-178 vl.1,2 B: b.177 note 4: slur is missing, b.178 note added as in B; b.189: div. omitted as in B
1: beginning of slur open (page turn) 188-189 vc.1 b.188 note 2 to b.189 note 1: tie added as
178 vl.1,2 A: rest 2: tutti added in blue ink (Emil in B, b.188 note 1 to b.189 note 1: slur
Telmányi?), probably in connection with omitted as in B
printing 188-190 cb. B: b.188 notes 1-2, b.189 note 1 to b.190
178, 179, note 1: slur
180 ob.1 cl. fg.2 190 cl. cor. str. B: (vl.1, va., cb.): dim. added in blue ink

()
cor. str. A: b.178 note 2 (vl.1,2), b.179 note 1 (cl., (Emil Telmányi)

( ((
cor., va., vc., cb.), b.180 note 1 (ob.1, fg.2): 190 fl.solo C: added (CN?), erased
changed to in red crayon (Emil
Telmányi). The date of the change cannot

(
be accurately established Second Movement
179 cor. B: added in blue ink (Emil Telmányi)
179 vl.2 B: end of slur note 11 instead of note 12 Bar Part Comment
179 va. vc. cb. B: note 1: arco added in blue ink (Emil 1 cca. emended to ca.; A: (! =caa. 100) added

B: note 2: $ added in blue ink (Emil

Telmányi) in blue ink (Emil Telmányi) during fair-
180 vc. cb. copying
Telmányi) 1 Allegretto emended to Allegretto un poco as
180-182 ob.1 B: b.180 notes 1-3: slur, end of slur open in B, C; B: un poco added in blue ink (CN)

A: note 2: * added in red crayon and blue

(page turn), b.181 note 2 to b.182 note 7: slur 4 vl.1 B: stacc.
180-182 fg.2 B: b.180 notes 1-3: slur is missing, b.181 5 str.
note 1 to b.182 note 5: beginning of slur ink

( (
open (page turn) 6-17 vc. cb. b.6: (unis) omitted; A: notated on one staff

(
181 ob.1 note 1: omitted by analogy with fg. 7 tutti note 1: emended from second crotchet

(( (
181 ob.2 A: added by Emil Telmányi during fair- as in B; second crotchet: dim. added as in B
copying, changed to in pencil (Emil 7 cb. D (cb. No.1): note 1: added in black ink
Telmányi) probably in connection with (CN)
printing 8 cb. D (cb. No.1): note 3: dim added in black

((
181 vc. A: chord 1: div. added by Emil Telmányi ink (CN)
during fair-copying; B: chord 1: div. added 9 cb. D (cb. No.1): note 1: added in black ink
in blue ink (Emil Telmányi) (CN)
181-182 fg.1 B: b.181 note 1 to b.182 note 6: slur, 9 tutti second crotchet: dim. added as in B
beginning of slur open 10 cb. D (cb. No.1): note 3: dim added in black
182 ob.2 . / emended to . " with a tie by analogy ink (CN)

((((
with cor.1,2 and by analogy with b.180 11 str. second crotchet: dim. added as in B
(cor.1,2, va., vc., cb.); A: note 1: . and ! 12 str. A: crossed out in pencil (probably
with a tie changed to . / by Emil Telmányi by Emil Telmányi)
during fair-copying 12-15 vl.2 va. b.12: (unis) omitted; A: notated on one
182-183 vc.1 B: slur b.182 notes 4-7 and slur b.182 note staff
3 to b.183 note 1 13 vl.1 B: note 4: " changed to # in blue ink (Emil
182-183 cb. B: slur b.182 notes 2-7 changed to slur Telmányi), notes 1-4: slur added in blue
b.182 note 2 to b.183 note 1 in blue ink ink (Emil Telmányi), note 4: stacc. added
(Emil Telmányi) in blue ink (Emil Telmányi)
183 fg. B: b.183: end of slur open (page turn 13, 14 fl.solo C: note 2: stacc. is missing
between b.183 and b.184) 14 vl.1 B: note 4: ", note 4: stacc. added in blue
183 fl.solo C: note 2: espr. ink (Emil Telmányi?)
$
183 cb. B: note 1: g added in blue ink (Emil 14 cb. D (cb. No.1): dim added in black ink (CN)
Telmányi) 15 fl.solo C: added in pencil
(CN?), note 3: 8 added in pencil (CN?)
A: $ added in pencil and blue ink (Emil
184 fl.solo C: b.183 note 3 to b.184 note 1:
185 vc.1 15 fl.solo note 3: marc. added as in B, C; A: note 3:
Telmányi) (marc.) added in pencil (Emil Telmányi)

Carl Nielsen Udgaven CN 00041 75

CN Fløjtekoncerthæfte tekst 02 75 12/01/05, 21:33

 ' ff
Bar Part Comment Bar Part Comment
15-17 fl.solo b.17 note 6: end of slur emended from 48 fl.solo A: changed to by Emil Telmányi

'
b.18 note 1 as in B; C: slur b.14 note 4 to during fair-copying
b.15 note 2 and b.15 note 3 to b.17 note 6 48 vl.1 A: changed from b.47 note 8 by Emil
changed to b.14 note 4 to b.17 note 6 in Telmányi during fair-copying; B: notes 4-5:
pencil (CN?) stacc.
17 fl.solo B: dim. 49 ob. cl. A: notes 1-2: dim added in black ink (CN)
18 fg.1 B: note 5: " 49 ob. fg. B:
$
23 fl.solo B: note 1: cresc. added in black ink (CN) 49 cl.2 B: note 1: c ''
24 fl.solo B: cresc added in blue ink (CN) 49 vl.1 A: notes 4-5: ten. added by Emil Telmányi
25-26 fg.1 B: b.25 note 2 to b.26 note 4: " changed to during fair-copying
# in blue ink (CN) 50 fg.2 note 1: stacc. omitted by analogy with ob.,
25-26 fl.solo b.25 note 2 to b.26 note 8: stacc. added cl., fg.1
and slur omitted as in C; A: (ossia: staccato) 50 vl.2 B: Divisi is missing
added in blue ink (Emil Telmányi) 50-51 cl.2 A: b.50 note 2 to b.51 note 1: tie added in
probably during printing blue ink (Emil Telmányi?)
25-27 fl.solo B: b.25 note 2 to b.27 note 1: slur over- 50-51 vl.2 A: lower part b.50 note 1 to b.51 note 2:
written with stacc. slur changed from b.51 notes 1-2 by Emil
26 fl.solo B: notes 1-4: dim. added in blue ink (CN); Telmányi during fair-copying

)
C: 51 ob. note 2: stacc. omitted by analogy with
27 fl.solo B: note 1: added in blue ink (CN); C: b.50 note 6 and by analogy with fg., va.
note 1: " emended to # as in C
'
note 1: ten. added in pencil (CN?) 51 fl.solo
27-28 fg.1 B: slur b.27 note 4 to b.28 note 1 and slur 52-54 fl.solo b.53 note 1 to b.54 note 1:

'
b.28 notes 1-2 added as in C; A: b.52 note 2 to b.53 note 6:

(+
29-33 vc. cb. B: b.29 note 1 to b.33 note 2: slur added by Emil Telmányi

+
33 fl.solo note 4: marc. added as in B, C; during fair-copying
,
emended to as in C; B, C: note 1, 5: f '''; 52-55 fl.solo B: b.52 note 2 to b.53 note 1: slur

B: note 3: * added in blue ink (CN?); C: A: note 6 (tr.): * added in blue ink (Emil
C: is missing 53 cor. added as in B
34 fl.solo 53 fl.solo
,
note 3: f ''' Telmányi?)
34 va. note 5: end of slur emended from note 4 53 vl.2 chord 2 unis: brackets omitted; 2nd

B: note 3: $ added in blue ink (CN?)

as in B crotchet: trem. added
35 va. 53-54 cl.2 b.53 note 3 to b.54: tie added as in B
35-36 fl.solo b.35 note 5 to b.36 note 8: slur emended 53-54 cor.2 A: b.53 note 3 to b.54 note 1: tie added in
from b.35 notes 5-12 and b.36 notes 1-8 as blue ink (Emil Telmányi)
$
in C 54 fg. note 2: f ' emended to f' by analogy with
36 fl.solo A: rall. added in pencil and red crayon (Emil ob. and in accordance with D

printing; B: note 4: * added in blue ink (CN?)

Telmányi) probably in connection with 54, 55 va. B: notes 4-5: stacc.
, ,
55 fl.solo c ''' emended to e''' as in B, C; A: c '''
37 fl.solo C: note 4: marc. added in pencil (CN?) changed to e''' in pencil
37 vl.2 pizz.: brackets omitted 55 cb. A: notes 2-3: added in red
37-38 fl.solo b.37 note 4 to b.38 note 16: end of slur crayon (Emil Telmányi?)
emended from b.38 note 15 as in B, C 57 A: poco rall. added by Emil Telmányi
39 a tempo added as in C (fl.solo) during fair-copying

(
39 fl.solo note 2: stacc. added by analogy with notes 57 cl. B: notes 1-2: dim.
1, 3; A: scherzando added by Emil 57 vl.2 va. vc. cb. B: note 2: dim.
Telmányi during fair-copying 58 A: tranq. added by Emil Telmányi during
41 fl.solo A: notes 3-4: tie added in blue ink (Emil fair-copying

Telmányi during fair-copying; B: note 7: ,

Telmányi); A: note 1: marc. added by Emil 58 fg. D: solo added (Emil Telmányi)
$
58 cb. B: g
,

note 5 (tr.): , added as in C; C: note 1: marc. B: note 3: * added in blue ink (Emil
added in blue ink (CN?) 58, 59 cl.2 B: note 2: g
43 fl.solo 58, 59 fg.
is missing, notes 3-4: !
note 2 (tr.): * added as in C; A: note 2 (tr.): *
Telmányi?)
44 fl.solo 58-62 fg. A: slurs changed by Emil Telmányi during
added in blue ink (Emil Telmányi) fair-copying; B: b.58 note 1 to b.62, b.58
44, 45, 46 fl.solo note 1: " emended to # as in C notes 1-2: slur

B: note 2: * added in blue ink (CN?)

46-47 vl.1 B: b.47 notes 1-8 instead of b.46 60 fg. B: note 2: Imo
note 5 to b.47 note 6 61 cl.2

added in black ink; B: note 2: * added in

47 fl.solo added as in B, C; A: notes 5-7 61 fg. B: rall:
62 B: Poco Adagio changed to Adagio ma non
blue ink (CN/Emil Telmányi?) troppo in blue ink (CN)
47 vl.2 va. chord 1: trem. added 62-64 vl.1,2 A: slurs changed by Emil Telmányi during
48-50 ob.1 A: b.48 to b.50 note 1: slur added by Emil fair-copying; B: b.63 notes 1-3: slur
Telmányi during fair-copying; B: bb.48-49: 63-64 fl.solo C: b.64 notes 2-6: is missing,
slur is missing, b.50 beginning of slur open added in pencil
48-50 cor. A: beginning of slur changed from b.47 by 64-65 fl.solo b.64 notes 2-6 and
Emil Telmányi during fair-copying b.65 notes 1-2 emended to one

Carl Nielsen Udgaven CN 00041 76

CN Fløjtekoncerthæfte tekst 02 76 12/01/05, 21:33

 Bar Part Comment Bar Part Comment
,
65 vl.1 B: note 1: f '' slur b.82 note 5 to b.85 changed to slur
66-70 fl.solo slur emended from b.66 note 3 to b.67 note b.82 note 5 to b.84 note 1 and slur b.84
1, b.67 note 2 to b.68 note 1, b.68 note 2 to note 2 to b.85 by Emil Telmányi in blue
b.70 note 1, b.70 notes 2-4 as in C; C: b.66 ink probably in connection with printing

& '
note 3: beginning of slur changed to b.67 (Emil Telmányi)
note 2 (CN?) 83 fg.1 A: note 2: has been changed to in
66, 67, 68, blue ink (Emil Telmányi), probably in
69, 70, 71 vl.1,2 A: slurs changed by Emil Telmányi during connection with printing; A: notes 2-6:
fair-copying; B: b.66 notes 1-3, b.67 notes added by Emil Telmányi during fair-

ff '
1-3, b.68 notes 1-3, b.69 notes 1-3, b.70 copying
notes 1-3, b.71 notes 1-3: slur 85 cl. fg.2 cor. A: has been changed to in blue ink
68-69 fl.solo B: b.69 note 3: dim; C: b.69 notes 1-4: (Emil Telmányi) probably in connection
with printing
70 fl.solo C: note 4: stacc. is missing 85 vl.2 va. vc. cb. trem. added
70-71 fl.solo b.70 note 5: beginning of slur emended 85 vl.2 cb. B: con sord.
from b.70 note 6 as in C; C: slur b.70 note 3 85-86 fl.solo C: b.85 note 1 to b.86 note 2: slur, b.86

(
to b.71 note 2 added in pencil (CN?) note 1: marc. is missing
,
72 cl. fg. A: note 1: added by Emil Telmányi 85-89 fg.2 B: f
,

((
during fair-copying, changed in cl, fg.1 to 85-89 cor.2 B: c ''
,
in pencil (Emil Telmányi) probably in 85-89 cb. B: f
connection with printing 87-88 fl.solo C: b.87 note 2 to b.88 note 2: slur, b.88
72 vl.1 B: note 1: ten. note 1: marc. is missing
72 va. B: marc: 88 fl.solo marc. added by analogy with b.86 note 1;
72-74 fg.1 A: ten. and stacc. changed to ten. by Emil A: b.88 note 1: (marc.) added in black ink
Telmányi during fair-copying, slur added (Emil Telmányi)
by Emil Telmányi during fair-copying; B: 89 fg. cor. vl.2 A: notes 1-3: marc. changed to stacc. by
col viol II Emil Telmányi during fair-copying
72-81 fg.2 A: slurs added by Emil Telmányi during 89 fl.solo B: note 3: c'''

ff
fair-copying; B: col Bassi 90 cl. A: notes emphasized in blue ink
73 fl.solo C: notes 1, 3: marc. 90 fl.solo note 1: sempre added as in C; C: notes
73 fg.2 notes 3-4: added by analogy 1-5: poco accell
B: ! /
ff
with va., vc., cb. 91 ob.
73-74 cl.1 A: ten. and stacc. changed to ten. by Emil 91 cl.1 note 1: added as in B
$
Telmányi during fair-copying 91 fg.2 e emended to e as in B and by analogy
73-74 cl.2 A: ten. added by Emil Telmányi during with vc., cb.
fair-copying 91-93 cl.1 A: beginning of slur changed from b.91
73-81 cl.1 B: col viol I note 2 by Emil Telmányi during fair-
73-81 cl.2 B: col viol II copying
74-81 fg.1 B: col viol II 92 cl.1 A: dim.- - - molto - -
74-81 fg.2 B: col Bassi 92 vc. D (vc. No.2): rall: added in black ink (CN)
75-81 cl. fg.1 A: slur added by Emil Telmányi during 93 fl.solo note 5: " emended to # as in C

B: note 2: * added in blue ink (Emil (

fair-copying 93-95 fl.solo C: b.94 note 2, b.95 note 2: stacc. missing
78 vl.2 94 vl.1 B: added in blue ink (Emil Telmányi), con
Telmányi) sord. ? added in blue ink (Emil Telmányi)
79 vl.1 va. A: dim. emphasized in black ink (CN?) 94, 95 vl.1 B: note 4: "

( (((
79 vc. D (vc. No.2): notes 2-3: dim added in black 98, 100 va. B: notes 1-4, 5-8: slur

((((
ink (CN) 99 cor. A: changed to in blue crayon (CN),

B: note 2: * added in blue ink (Emil

80 A: rall: added in black ink (CN) (CN) crossed out in pencil
mo
80 fl.solo 99-113 cor.1 B: I is missing
Telmányi?) 101-102 va. A: spiccato sempre
81 A: a tempo added by Emil Telmányi during 101-103 cor.1 B: b.102 note 1: beginning of slur

(((
fair-copying 102-113 va. B: notated with treble clef

(
81 cl. fg. str. note 1: added as in B 106 fl.solo note 1: marc. added as in C; A: note 1:

)
81 fg.1 A: note 3: added by Emil Telmányi (marc.) added in blue ink (Emil Telmányi)
during fair-copying, changed to in 107-108 fl.solo C: stacc. added in pencil (Emil Telmányi?)
blue ink (Emil Telmányi) probably in 109 A: poco vico added in pencil (CN)
connection with printing 110 fl.solo C: notes 1-8: stacc. added in pencil (Emil

B (tr.): $ added in blue ink (Emil Telmányi?)

81 vl.1 D (vl.1 Nos.1, 4): a tempo added in pencil Telmányi?)
(CN), (vl.1 No.3): a tempo added in black 110 va.
ink (CN) 112 fl.solo note 1: stacc. added by analogy with b.110

A: note 2: * added in blue ink (Emil

81-83 fg.1 B: notes notated with bass clef 113 fl.solo A: notes 1-3, 8: stacc. added by Emil
82 fg.1 Telmányi during fair-copying; notes 1-3:
,
Telmányi); B: note 2: f ' added by Emil Telmányi during
82-85 fg.1 b.82 note 5 to b.85 note 1: slur emended fair-copying
from slur b.82 note 5 to b.84 note 1 and 114 va. chord 1: tutti added in accordance with
slur b.84 note 2 to b.85 note 1 as in B; A: D (va.)

Carl Nielsen Udgaven CN 00041 77

CN Fløjtekoncerthæfte tekst 02 77 12/01/05, 21:33

 Bar Part Comment Bar Part Comment
114-118 cb. A: vc. omitted from instrument names, to the bar. Rest in all parts except timp; A:
(unis.) added in blue ink (CN?) last crotchet: 8 added in red crayon (Emil
115 vl.1 A: cantabile added by Emil Telmányi Telmányi?) probably in connection with
during fair-copying
3
printing, surrounding brackets added in
117 cor.2 senza sord. added in accordance with D pencil (Emil Telmányi); B: 4 from b.138
118-122 B: notes in short score added in red 137 cl.1 fg. notes 1-2: stacc. added by analogy with cl.2
,
A: ! (c ) added in connection with change
crayon (Emil Telmányi) are specified by 137 timp.
3
in time; B: second crotchet: G, 4 begins in
'
CN on the back of the first music page of
the second movement B at b.138; B: , tr is missing
,
B: notes 2-4: " # #
'
120 va. 137 fl.solo note 2: f ''' emended to f''' as in C; C: note 2:
120 vc. cb. note 1: ten. added by analogy with b.119
3
( ) added in blue ink (CN)
A: 4 crossed out in blue ink
ff
notes 1-2 138

'
121 cor.1 notes 1-2: added as in B 138 vl.1,2 trem. added as in B; A: has been
121 vl.2 A: notes 1-2: stacc. changed to slur by changed to in blue ink (Emil Telmányi),
Emil Telmányi during fair-copying probably in connection with printing
121 cb. A: notes 2-3: stacc. changed to ten. by Emil 139 timp. notes 1-2: marc. added as in B

((
Telmányi during fair-copying 139-140 vl.1,2 va. A: dim. molto

((
122 ob. B: note 1: 139-140 vc. cb. molto dim. added by analogy with vl.1,2, va.
122 cl. B: note 1: 140 vl.2 D (vl.2 No.2): chord 1: molto added in black

((
122 vl.2 A: notes 1-2, 5-6: stacc. changed to slur by ink (CN)
Emil Telmányi during fair-copying 141 vc. cb. A: note 2: added as in B and by
125 vl.1 A: notes 2-3: stacc. changed to ten. by Emil analogy with va.
Telmányi during fair-copying 145 A: (! =104-108) added in red crayon (Emil
125, 127 fl.solo C: note 1: marc. is missing Telmányi) probably in connection with
127-128 fl.solo B: b.128 notes 3-6: printing
128 fl.solo A: notes 1-2: stacc. added by Emil 145 timp. stacc. added as in B
Telmányi during fair-copying, notes 3-4: 149 cl.2 note 1: stacc. added by analogy with
marc. changed to stacc. by Emil Telmányi bb.145-148

(( &
during fair-copying 153 vl.1,2 A: Emil Telmányi’s fair copy of first

((
128 vl.1,2 va. A: notes 1-2: marc. changed to marc. and ending: changed to in pencil (CN);
stacc. by Emil Telmányi during fair-copying B: note 1:

(( &
128 vc. cb. A: marc. and stacc. added by Emil 154 va. vc. A: Emil Telmányi’s fair copy of first

ff ((
Telmányi during fair-copying ending: changed to in pencil (CN);
; B: notes 1-2: "/ #
)
129 cl. fg. B: note 1: B: note 1: .
129-131 str. B: Str: unison som i Indledningen ‘Str: unison 157 fl.solo B: note 1: is missing, but is in Emil

'
as in introduction’ Telmányi’s fair copy of first ending in A;
,
130 cl.1 B: notes 3-4: f C: note 1:
B: notes 3-4: " "
ff ) )
130 fg. 157 vl.1,2 va. vc. cb. A: Emil Telmanyi’s fair copy of first ending:
130 fl.solo B, C: note 1: crossed out in pencil (CN); B: note 2:
130-137 ob. b.130 note 1, b.131 notes 2-3, b.132 notes 157 vc. A: Emil Telmányi’s fair copy of first
2-3, b.133 notes 2-3, b.134 notes 2-3, b.135 ending: " 7 " 7 changed to " 7 7 " in pencil
notes 2-3, b.136 notes 2-3, b.137 note 2: ten. (CN); B: " 7 7 7
added by analogy with cor.; A: b.130-132: 157 cb. A: Emil Telmányi’s fair copy of first
marc. added in pencil ending: % " 7 changed to % 7 " in pencil
(CN); B: % " 7
& added by analogy with vl.1,2 (b.153),
130-137 cor. b.130 notes 1-2, b.131 notes 2-3, 132 notes
2-3, 133 notes 2-3, 134 notes 2-3, 135 notes 157 cb.

copy of first ending: ) crossed out in

2-3, 136 notes 2-3, 137 note 2: ten. added va., vc. (b.154); A: Emil Telmányi’s fair

pencil (CN); B: note 1: )

as in B (b.130 notes 1-2, b.131 note 1); A:
b.130-132: marc. added in pencil
,
134 cl.1 B: notes 1-2: c ' 158, 159 vc. cb. A: Emil Telmányi’s fair copy of first
,
134 cor.1 B: note 2: f '' ending: " 7 " 7 changed to 7 " 7 " in pencil
134 fl.solo notes 1, 3: marc. added as in B; C: note 5: (CN); B: " 7 " 7
marc. 159 vl.1,2 va. B: note 1: cresc.
,
135 ob.2 B: note 2: f ' 160 fl.solo C: notes 2-4:
, ,
135 str. B : note 1 (vl.1,2): f ', note 1 (va., vc., cb.): f 160 str. second quaver: beginning of
135-137 str. B: b.135 fourth crotchet to b.137 fourth emended from third quaver as in B

+ ff'
crotchet: 160 vl.1 va. vc. cb. A: Emil Telmányi’s fair copy of first

43 added; A: noted at bottom of page: NB.

136 fl.solo C: note 1: ending: added in pencil (CN)

ff
137 tutti 160 vl.2 A: Emil Telmányi’s fair copy of first
Til Kopist og Stikker: / Sidste Takt er 3/4 !! ending: added in pencil (CN); D (vl.2
udskrive i alle System, (Emil Telmányi). ‘NB. Nos.2-3): molto added in black ink (CN)
2
To copyist and engraver: Last bar is 3/4!!
3 160 va. cb. A: Emil Telmányi’s fair copy of first
Write out in all staves’; A: 4 changed to 4 ending: molto added in pencil (CN)
by Emil Telmányi before copying of parts, 161 ob.1 A: note 12: Emil Telmányi’s fair copy of
notated above, below and in the middle of first ending: d'' changed to e'' in pencil
the system; A: In the margin a % is added (CN); B: note 12: d''

Carl Nielsen Udgaven CN 00041 78

CN Fløjtekoncerthæfte tekst 02 78 12/01/05, 21:33

 '
Bar Part Comment Bar Part Comment

'
161 ob.2 A: note 12: Emil *
Telmányi’s fair copy of 169 vl.2 D (vl.2 No.1): note 1: added in blue
,

&
first ending: b ' changed to c '' in pencil crayon (CN), (vl.2 Nos.2-3): note 1: added
*
(CN); B: note 12: b ' in blue crayon (CN), changed to in

'
161 cl.1 B: note 12: f'' pencil

&
161 cl.2 B: note 12: d'' 169 va. D (va. No.2): note 1: added in blue

'
161 fg.1 A: note 12: Emil Telmányi’s fair copy of crayon (CN), changed to in pencil
,
first ending: d' changed to c ' in pencil (CN); 170 fg. A: notes 1-3: added in blue
B: note 12: d' crayon (CN)
161 fg.2 A: note 12: Emil Telmányi’s fair copy of 170 fg.2 B: note 2: ! / (error in B)
*

'
first ending: *b changed to a in pencil (CN); 170, 172 fl.solo bb.170, 172: stacc. added as in C

'
B: note 12: b 170, 172 fl.solo C: note 1:

(
161 cor. note 1: senza sord. added in accordance 170-171 fg. D: b.170 note 1 to b.171 note 1:
with D added in blue crayon (CN)
162 woodw. cor. A: Emil Telmányi’s fair copy of first 171 woodw. cor. stacc. added by analogy with bb.163-167
ending: notes crossed out in pencil (CN) and in accordance with bb.145-162 (ob.,
B: " (e'' )
(
162 ob.1 cl., fg. (notes 2-3), cor.)
,
B: " (c '' )
(
162 ob.2 171 fg. note 1: added by analogy with cor.
162 cl.1 B: " (g'' ) (b.170); A: added in blue ink (Emil
B: " (e'' )
((
162 cl.2 Telmányi)
,
B: " (c ' )
(
162 fg.1 171 vl.1 D (vl.1 No.1): note 11: added in pencil
162 fg.2 B: " (a) (CN), changed to in blue ink (Emil
,
162 cor.1 B: " (g ' ) Telmányi), (vl.1 No.2) notes 8-10: dim
B: " (e' )
(
162 cor.2 added in blue crayon (CN)

ff ((
162 fl.solo A: note 1: Emil Telmányi’s fair copy of 171 vl.2 D (vl.2 No.3): note 11: added in blue

ff
first ending: added in black ink (CN); crayon (CN), changed to in blue

(
B: added in black ink (Emil Telmányi) crayon (?)

((
162-166 C: notes added in pencil (Emil Telmányi?) 171 va. D (va. Nos.2-3): note 11: added in blue
,

note 3: , added in pencil

163 ob.1 notes 3-5: a'' emended to a '' as in B; A: crayon (CN), changed to in blue

( ((
crayon (?)
, ,

note 1: , added in pencil

163 fg. notes 1-2: c - C emended to c - C as in B; A: 172 vl.1 D (vl.1 No.1): changed to in pencil
(CN), crossed out
,

(
163 str. B: note 1: arco is missing 172 va. B: e '

((
163-166 cl. B: notes emphasized in blue ink 173 va. D (va. No.1): note 11: added in blue
164 ob. cl. fg. cor. A: Emil Telmányi’s fair copy of first crayon (CN), changed to in blue
ending: " changed to # in pencil (CN); crayon (?)
B: " 173 vc. notes 6-10: molto added by

((
164 str. A: Emil Telmányi’s fair copy of first analogy with vl.1,2, va., cb.
ending: notes crossed out in pencil (CN) 173 vc. cb. note 10: added as in B
*
164 vl.1,2 B: " (b '' ) 174 fl.solo notes 1-12: stacc. added and marc. note 7
*
B: "/ (b ' )
ff
164 va. omitted as in C; B: notes 1-7: marc.;
*
164 vc. cb. B: " (b ) C: note 1:
, , $

notes 1-3: * added in pencil and blue pen

166 fg. notes 1-3: f , F emended to f, F as in B; A: 175 fl.solo note 1: marc. omitted as in C; C: note 1: b '
175-177 fl.solo C: b.175 note 2, b.176 notes 1, 4, b.177 note
166 cor. notes 4-6: stacc. added by analogy with 1: marc. added in pencil (CN?)
,
ob., cl., fg. 175-178 cor.1 B: c ''
167 cl. stacc. added by analogy with ob., fg., cor. 175-179 woodw. cor. stacc. added in accordance with bb.163-167
167 cl.1 B: f'' and in accordance with bb.145-162
167 cl.2 B : a' (woodwind)
167 str. A: Emil Telmányi’s fair copy of first 177 cor.2 B: i Dybere Oktav af II.Ob. ‘in lower octave of
ending: notes crossed out in pencil (CN) II.ob.’ added (Emil Telmányi)
167 vl.1,2 B: " (g'' ) 177 fl.solo A: notes 1-8: end of slur open (page turn)
$ $ $
167 va. B: " (g' ) 177, 178 cor.2 B: notes 4-6: b ' - a ' - b '
167 vc. cb. B: " (g) 178 fl.solo notes 1-3: slur added as in C; C: notes 1-3:

* added as in B; A: note 3: * added in pencil

168 fl.solo A: Emil Telmányi’s fair copy of first ending: slur, notes 1-4: slur added in pencil (CN?)
$

ff
e '' changed to e'' in pencil (CN); B: note 12: 179 cor.1
$

ff
e ''. At b.169 the new ending begins 181 vc. cb. added by analogy with woodw. and by

'
169 B: 9 added in a ring in ink (CN) analogy with vl.1,2, va. (b.179); A:

'
169 cor. vl.1,2 va. A: note 1: added in blue crayon (CN) added in blue ink (Emil Telmányi)

c' emended to c ' as in B; A: $ added in blue

169 vl.1 D (vl.1 No.1): added in pencil (CN), 183-186 va. di-mi-nu-en-do added by analogy with vl.1,2
$

'
emphasized in blue ink (Emil Telmányi), 185 cl.1

&
(vl.1 No.2): added in blue crayon (CN), ink (Emil Telmányi)

) )
changed to in pencil, added 185 vc. cb. B: pizz.

'
in blue crayon (CN), (vl.1 Nos.3-4): note 1: 186 fl.solo added as in C; A: ( ) added in pencil

&
added in blue crayon (CN), changed to (Emil Telmányi)
in pencil, notes 6-11: added 187 fl.solo A: Tranq. added in blue ink (Emil Telmányi)
in blue crayon (CN) probably in connection with printing

Carl Nielsen Udgaven CN 00041 79

CN Fløjtekoncerthæfte tekst 02 79 12/01/05, 21:33

 (
Bar Part Comment Bar Part Comment

(
190 fg. A: note 1: added in blue crayon (CN) 206-207 fl.solo b.206 note 1 to b.207 note 6: slur added as
191 cl. A: note 1: added in blue crayon (CN) in C; A: b.206 note 1 to b.207 note 1, b.207
191-195 cl. A: b.191 note 1 to b.195 note 1: slur added notes 2-6: (slur) added in pencil (Emil

&
in blue crayon (CN) Telmányi?)
192 fl.solo added as in C 207-211 fg.2 B: b.207 to b.211 note 1: slur
193-195 va. B: b.193 note 6 to b.194 note 3, b.194 note 4 208-209 fl.solo b.208 note 1 to b.209 note 4: slur added as
to b.195 note 1: slur in C; A: b.208 notes 2-6, b.208 note 7 to
194 trb.b. A: Trombone solo added in pencil (CN) b.208 note 1: (slur) added in pencil (Emil

ff (((
195 B: 10 added in a ring in pencil (CN) Telmányi?)

ff ((
195-196 fl.solo b.195 note 1 to b.196 note 1: 209 cor.1 D: added in blue crayon (CN),

(
added as in C; A: ( ) added in changed to in blue ink (Emil Telmányi)
blue ink (Emil Telmányi) 209 trb.b. note 1: added as in B
195-199 trb.b. A: b.195 note 1 to b.198 note 3, b.199 210 trb.b. gliss. added as in C; A: (gliss) added in
notes 1-3: stacc. in brackets added in pencil (Emil Telmányi); C: At this point
pencil (CN?); B: stacc. missing trb.b. is indicated as accompaniment of
197-199 fl.solo B: b.197 note 4 to b.199 note 9: slur added fl.solo. Here CN has clearly noted gliss:

(((
in ink (CN) 210 fl.solo molto added as in C
197-199 vc. cb. marc. added by analogy with b.195 note 2 210-211 cor.2 D: dim added in blue crayon (CN),

(
to b.196 note 12 erased
198 vc. D (vc. No.2): dim added in blue crayon (CN) 211 cor. B:
198 cb. D (cb. No.3): dim added in blue crayon (CN) 211-221 fl.solo slurs added as in C; A: b.211 note 4 to
198-199 trb.b. b.198 note 3 to b.199 note 4: dim. b.213 note 6, b.213 note 7 to b.215 note 1,
emended to by analogy with b.215 note 2 to b.216 note 3, b.217 notes 3-
vc., cb. 4: (slur) added in pencil (Emil Telmányi?),
199 vc. D (vc. No.1): dim. added in blue crayon B: b.211 notes 1-2: slur
(CN), overwritten with in blue 213 fl.solo C: dim. changed to in pencil

((
ink (Emil Telmányi); D (vc. No.2): note 12: (CN?)
added in blue crayon (CN) 215-216 fl.solo A: b.215 note 4 to b.216 note 1: tie added

( ((
199 vc. cb. B: note 9 missing in blue ink (Emil Telmányi)

(((
200 fg. cor. A: changed to in pencil (CN) 217 timp. fl.solo note 3: dim. added as in B, C (fl.solo); B:

((
200 fg.2 cor.2 D: added in blue crayon (CN), dim. added in black ink (CN)

((
changed to in blue ink (Emil Telmányi) 218 timp. B: dim.

)
200 cor.1 D: added in blue crayon (CN) 220 fl.solo dim. added as in C
200 fl.solo note 1: added as in C; C: notes 1-3: 220-221 trb.b. gliss. emended from b.220 to b.221 as in C;

&
tranq: added in pencil (CN) A: b.220: glissando crossed out in blue ink
200 vl.1 B: note 1: (Emil Telmányi?), b.221 notes 1-2: gliss.

'
200-211 fg.1 A: b.200 note 1 to b.211 note 1: slur added added in blue ink (Emil Telmányi), b.221

ff'
in pencil (CN) note 2: added in pencil and blue crayon
200-211 fg.2 A: slur b.208 note 1 to b.211 note 1 (CN); B: b.220: glissando, b.221: ; C: At
changed to slur b.200 note 1 to b.211 this point trb.b. is indicated as accompa-
note 1 in pencil (CN) niment of fl.solo. Here CN has clearly

ff
200-211 cor.2 A: slur b.208 note 1 to b.211 note 1 noted gliss: in b.221
C: note 1: ", note 2:
ff
changed to slur b.200 note 1 to b.211 221 fl.solo

( (( ff
note 1 in pencil (CN) 222 timp. A: note 1: added in pencil and blue
201 cl.1 A: changed to in pencil (CN), crayon (CN); D: note 1: added in blue

note 6: f '' emended to f'' as in C; A: *

overwritten in pencil (Emil Telmányi) crayon (CN)
,

((
201, 203 trb.b. A: notes 3-4: ten. added in blue crayon (CN) 223 fl.solo
201-202 fg.1 D: sempre added in blue crayon (CN), added in black ink
erased 224 timp. A: notes 2-3: dim added in pencil (CN),
201-202 fl.solo C: b.201 note 3 to b.202 note 2: slur crossed out in blue crayon, note 8: dim
201-210 cl.1 A: b.201 to b.211 note 1: slur added in added in blue crayon (CN); D: poco a poco

( ((
pencil (CN) dim added in blue crayon (CN), erased

( ((
202-211 cl.2 emended to by analogy with cl.1 226 fl.solo A: notes 2-3: b' - a' corrected to c'' -b' in
(b.210); A: changed to in pencil pencil and blue ink (error during fair-
(Emil Telmányi?) copying)
202-211 cl.2 slur added by analogy with fg.1; A: bb.206- 226-228 fl.solo A: b.227 note 6 to b.228 note 1: tie added
210: slur added in pencil (CN?), beginning in blue and black pen
of slur open (page turn after b.205), end of 226-231 fl.solo slurs added as in C; A: b.226 note 5 to

(((
slur open (page turn after b.210) b.228 note 6: slur changed to slur b.226
203-204 fg.2 D: sempre added in blue crayon (CN), note 5 to b.228 note 1 and slur b.228 note

(((
erased 2 to b.229 note 1 in pencil and blue ink,
204-205 cor.2 D: sempre added in blue crayon (CN), b.229 note 2 to b.230 note 1: (slur) added
erased in pencil (Emil Telmányi)
205, 207 trb.b. notes 3-4: ten. added by analogy with 227 fl.solo A: poco piu rall. changed to poco a poco rall.
bb.201, 203; A: notes 3-4: ten. added in in blue ink (Emil Telmányi?). The date
blue or black ink; B: b.205 notes 1-3: slur cannot be established

Carl Nielsen Udgaven CN 00041 80

CN Fløjtekoncerthæfte tekst 02 80 12/01/05, 21:33

 ((
Bar Part Comment Bar Part Comment
228 va. added as in B 244 fg.1 1. added in accordance with D; B: note 2,
,
228, 231 va. arco: brackets omitted; A: b.228: (arco) 4, 6, 8, 10: g
, ,
added in pencil (CN), b.231: arco crossed 245 fl.solo A: notes 9-10: g ' - e' changed to a' -f ' in
out in pencil (CN?) blue ink (Emil Telmányi)
229 timp. dim. added by analogy with fl.solo, va. 246 cl.1 B: note 3: g
229 va. dim. added as in B 247 fg.1 A: note 1: marc. omitted as in B and in
,

((
229-230 A: rall - - added in blue crayon (CN) accordance with D; B: note 5: c

((
230 fl.solo notes 3-4: dim. added as in C 247 vl.1,2 va. cb. A: note 1: added in blue crayon (CN)
231 vl.1 notes 1-4: stacc. added by analogy with vc, 247 vl.1 B: notes 1-10: slur; D: (vl.1 No.1): note 1:

((
cb.; A: notes 1-4: stacc. added in pencil added in pencil (CN), emphasized in blue
231 vl.2 chord 3: stacc. added as in B and by ink (Emil Telmányi), (vl.1 No.3): note 1:

(
analogy with vc., cb; A: note 3 : stacc. added in blue crayon (CN)

((
added in blue ink 247 vl.2 D: (vl.2 No.1): added in blue crayon

(
231 va. notes 1-4: stacc. added by analogy with (CN), changed to in blue ink (Emil

((
vc., cb.; A: notes 1-4: stacc. added in Telmányi), (vl.2 Nos.2-3): added in blue
pencil crayon (CN), changed to in pencil
,

((
232 vl.1 note 1: stacc. added by analogy with b.233 247 va. B: note 5: c '
note 1; notes 2-3: stacc. added as in B; A: 247 vc. note 1: added by analogy with va., cb.;
,
notes 1-3: stacc. added in pencil B: note 5: c
232 vl.2 chords 3-4: stacc. added by analogy with 247-248 fg.1 B: b.247 note 1 to b.248 note 1: slur, from
vc., cb.; A: chords 3-4: stacc. added in blue b.248 to b.250: col Basso

A: note 2 (tr.): * added in pencil and blue

or black ink 248 cl. fg.1 vl.1 A: added in blue crayon (CN)
232 va. note 1: stacc. added by analogy with b.233 248 fg.1 va. vc. cb.
note 1; notes 2-3: stacc. added by analogy ink (Emil Telmányi?)
with vc., cb.; A: notes 1-3: stacc. added in 248 vl.2 notes 2-12: added by analogy
pencil with vl.1
234 va. note 4: ten. added by analogy with vl.1; A: 248 va. vc. cb. b.248 notes 1-4: slur emended from notes
note 4: ten. added in blue ink (Emil 1-3 in accordance with b.240 (vl.1,2); B:
Telmányi) notes 1-2: slur
235-238 str. B: b.235 note 2 to b.238 note 1: slur, vl.1: 248 va. cb. A: notes 2-4: added in blue
slur crossed out in pencil (CN?) crayon (CN)

(( &
236 cl.2 B: note 2: e'' 248 vc. notes 2-4: added by analogy

((
236 fg.1 added as in B; A: note 1: added in with va., cb.
blue ink (Emil Telmányi), probably in 248-250 vc. D (vc. No.2):
connection with printing; D: earlier, now added in blue crayon (CN)
illegible dynamics by CN erased and 249 tutti A: poco added in pencil (Emil Telmányi). The
overwritten in blue ink (Emil Telmányi); date of the addition cannot be established
,
B: note 4: c 249 cl. A: added in blue crayon (CN)
,
236 vl.2 B: note 2: c '' 249 vl.1 A: notes 6-12: added in blue
237 vl.1 notes 1-2: O added as in B crayon (CN)
,
237-238 ob. B: b.237 note 1 to b.238 note 1: g ' 249 vl.2 notes 1-12: added by analogy
237-238 cl.1 b.237 note 1 to b.238 note 1: stacc. added with vl.1
,
by analogy with bb.235-236 249 va. B: note 1: g '
, ,

((
237-238 cl.2 B: b.237 note 2 to b.238 note 1: f '' 249 vc. cb. B: note 1: g
,

((
237-238 vl.2 B: b.237 note 2 to b.238 note 1: d '' 249-250 fg.1 A: added in blue crayon
,
237-238 va. B: b.237 note 1 to b.238 note 1: g '' (CN); D: b.250: added in blue crayon

A: note 1: * added in black ink; B: e''

237-239 ob.2 cl.2 stacc. added by analogy with bb.235-236 (CN)

& ) ((
238 ob.1 249-250 fg.1 va. vc. cb. A: b.249 note 2 to b.250 note 2:

( (
239 fl.solo note 1: emended to as in C added in blue crayon (CN)

((
239 vc. B: note 1: 250 va. D (va. No.1): note 2: added in blue

((
239 cb. A: b.239 note 1: arco added in blue ink crayon (CN), changed to in blue ink
(Emil Telmányi); B: notes 1-3: stacc. (Emil Telmányi), (va. No.2): added in

((
239-240 vl.1 b.239 note 1 to b.240 note 4: slur emended blue crayon (CN)
from b.239 note 1 to b.240 note 3 by 250 vc. D (vc. No.2, cb. No.3): note 2: added in
analogy with vl.2 blue crayon (CN)
,
239-240 vl.2 b.239 note 1 to b.240 note 4: slur emended 251 vc. cb. B: note 3: c '
from b.239 note 1 to b.240 note 3 as in B 251, 254 fg.1 B: notated with double stem
241-242 vl.2 b.241 note 1 to b.242 note 4: slur emended 251-252 fg.1 A: b.252 note 2: end of slur open (page turn)
,
from b.241 note 1 to b.242 note 3 in 254 ob.1 B: note 3: g ''
,
accordance with bb.239-240 and in 254 ob.2 B: note 3: g '
B: note 1: ! / , note 2: " (B)
( (
accordance with D; A: b.241 note 1 to b.242 254 fg.
note 3: slur added by Georg Wiegelmann 255 fl.solo note 1: added as in C; A: note 1: ( )
during fair-copying added in blue ink (Emil Telmányi)
243-245 vl.2 B: b.242 note 3: beginning of slur 255-256 fl.solo A: b.255 note 1 to b.256 note 6: slur
243-244 va. b.243 note 1 to b.244 note 4: slur emended crossed out in pencil, b.255 notes 1-2,
from b.243 note 1 to b.244 note 3 as in B b.256 notes 1-2, 8-9: slur added in pencil,

Carl Nielsen Udgaven CN 00041 81

CN Fløjtekoncerthæfte tekst 02 81 12/01/05, 21:33

 Bar Part Comment Bar Part Comment
b.255 notes 2-12, b.256 notes 3-6: stacc. 265-267 timp. A: rall: added in blue crayon
added in pencil (CN)

'
255-261 timp. tr. and ties added 265-267 fl.solo A: dim. erased, bb.265-266:
, *

(
256 fl.solo A: notes 7-8: notes changed to g '' -b '' in sempre added in blue crayon (CN);
blue ink (Emil Telmányi?); B: notes 7-8: B, C (b.265): dim.; C (b.267):
* ,
b '' -c ''' 266 A: rall: added in blue crayon (CN)
256-260 fl.solo C: b.256 notes 3, 9, b.257 notes 1, 5, 7, 266 trb.b. D: note 1: dim added in blue crayon (CN)

(
b.258 note 9, b.259 notes 1, 5, 9, b.260 266-267 cl. fg. cor. str. B: b.266:

(
note 1: marc. added in pencil (Emil 267 woodw. cor. str. A: note 2: added in blue crayon (CN);

((
Telmányi?) B: note 1:

((
257 fl.solo A: notes 7-12: slur crossed out in pencil, 267 ob.1 trb.b. D: note 2: added in blue crayon (CN)

stacc. added in pencil, note 8: * added in (

notes 7-8: slur added in pencil, notes 9-12: 267 ob.2 cl. fg. cor. D: note 2: added in blue crayon
(CN), changed to in blue ink (Emil

( ((
pencil Telmányi)

( ((
258 fl.solo A: notes 1-6: slur crossed out in pencil, 267 trb.b. note 2: emended to as in D;

((
notes 1-2: slur added in pencil, notes 3-6: A: added in blue crayon (CN),
stacc. added in pencil emphasized in pencil; D: added in
259 fl.solo notes 9-10: slur added as in C; A: slur blue crayon (CN); A: notes 1-2:
added in pencil added by Georg Wiegelmann during fair-

(
259 fl.solo notes 11-12: stacc. added as in C; A: notes copying

( (
11-12: stacc. added in pencil 267 timp. A: added in blue crayon (CN); B: note 1:

((
260 fl.solo A: notes 1-2: slur added in pencil ; D: note 4: added in blue crayon (CN)

ff ' (
261 fl.solo C: 267 vl.1 D (vl.1 No.1): added in pencil (CN),

((
262 fl.solo note 1: emended to as in C; notes 1- changed to in blue ink (Emil Telmányi),
2: slur emended from notes 1-3 as in C; (vl.1 Nos.2-4): chord 2: added in blue

((
note 3: stacc. added as in C; A: notes 1-2: crayon (CN)

(
slur changed from notes 1-3 in blue ink 267 vl.2 D (vl.2 No.1): added in blue crayon

((
(Emil Telmányi); B: notes 1-3: slur, note 3: (CN), changed to in blue ink (Emil

ff
stacc. is missing Telmányi), (vl.2 Nos.2-3): chord 2:

((
262 va. B: added in blue crayon (CN)

(
262-264 str. A: b.262 notes 1-4, b.263 notes 2-5, b.264 267 va. D (va. No.1): chord 2: added in blue

((
notes 2-5: stacc. added in pencil, b.263 crayon (CN), changed to in blue ink
note 1, b.264 note 1: ten. added in pencil. (Emil Telmányi), (va. No.2): added in

((
All articulation markings are in brackets blue crayon (CN)

(
(CN/Emil Telmányi?) 267 vc. D (vc. No.1): chord 2: added in blue

((
263 fl.solo note 1: marc. added as in C; crayon (CN), changed to in blue ink
A: b.263 note 1: (marc.) added in blue ink (Emil Telmányi), (vc. No.2): added in

((
(Emil Telmányi) blue crayon (CN)

(
264 woodw. cor. A: dim changed from b.265 in blue crayon 267 cb. D (cb. No.1): note 2: added in blue

((
(CN) crayon (CN), changed to in blue ink
264 ob. cl. fg. cor. D: notes 1-3: dim added in blue crayon (Emil Telmányi), (cb. No.3): note 2:
(CN) added in blue crayon (CN)
264 trb.b. notes 1-2: gliss. added as in B; A: notes 1-2: 267 B: 8 on final bar line
(gliss.) added in pencil (Emil Telmányi)
264 fl.solo note 2: marc. added by analogy with b.263
note 1
264 str. A: dim. changed from b.265 in blue crayon
(CN)
264 vl.1 D (vl.1 Nos.2-4): chords 2-3: dim. added in
blue crayon (CN)
264 vl.2 D (vl.2 No.1): chords 2-3: dim added in
blue crayon (CN), (vl.2 Nos.2-3): chords 1-3:
dim. added in blue crayon (CN)
264 va. D (va. No.1): chords 1-3: dim. added in blue
crayon (CN), emphasized in blue ink (Emil
Telmányi), (va. No.2): chords 1-3: dim.
added in blue crayon (CN)
264 vc. D (vc. Nos.1-2): notes 1-3: dim added in
blue crayon (CN)
264 cb. D (cb. Nos.1, 3): notes 1-2: dim added in
blue crayon (CN)
264-267 fl.solo C: b.264 note 2 to b.267 note 1: b.264 note
4: end of slur open (change of system)

ff '
265 woodw. cor. str. A: dim. crossed out in pencil
265 timp. A: note 1: changed to in blue
crayon

Carl Nielsen Udgaven CN 00041 82

CN Fløjtekoncerthæfte tekst 02 82 12/01/05, 21:33